1999年，18岁的青年张辰决定前往大城市成都闯荡一番，他不顾阿婆的劝阻，在某个繁星点点的夜晚离开了和阿婆相守多年的小镇，离开了这个留下无数回忆的所在。火车喷吐着滚滚浓烟，呼啸着撕破了大山的宁静。随着脚步的远离，旧日回忆却愈加清晰。他回忆起最早在深山的快乐时光，那里有他童年的朋友小二娃和阿健，戏水与纸兵是他们最喜欢的游戏，而此后和阿婆享受的日子又为张辰的心中系满了无数看不见却难以断开的牵绊。无论走到那里，旅人的脚步终究会将他们带回日夜牵挂的故乡和家人身边…… 本片被称为互联网首部静电影。

一位有毒的高管在他一生中最重要的会议上迟到了，发现自己陷入了公共卫生间的时间悖论。

讲述一个看门人被困在一个女厕所，遇到一批僵尸的攻击……

讲述一个看门人被困在一个女厕所，遇到一批僵尸的攻击……

It had been a crisp September morning like so many others. And then it was not. An explosion of evil would carve a path of death and destruction. The untold stories of resilience and unity from survivors pay tribute to hope amid tragedy.

A new film by Andrew Kötting is always cause for celebration, and his deliciously eccentric latest is a touching portrait of his daughter, Eden, as a young woman in their tumbledown Pyrenean farmhouse. Last seen in Gallivant (1996) as a plucky kid touring the coastline of Britain with her Big Granny, Eden, now 23, is here shown painting still lifes and singing along to the radio as the seasons ebb and flow around her. Reminiscent of Stan Brakhage's Dog Star Man, this lo-fi marvel features music by Scanner's Robin Rimbaud and a range of voices from Kötting's sound archive to explore notions of nostalgia, memory and place. and from "cinevue": The latest release to come from the BFI's very own DVD label, Andrew Kötting's This Our Still Life (2011) is a deeply personal, lo-fi collage of the director's secluded Pyrenean farmhouse (named simply 'Louyre'), where he lives with his wife Leila and daughter Eden. Eden was born with a rare neurological disease, and thus the farmhouse proves the perfect habitat for Kötting to care for and play with the 23-year-old, free from the hustle-and-bustle of London life. Kötting once again incorporates a number of signature stylistic techniques that run throughout his work (even as far back as 1996's Gallivant, where Eden made here first on-screen appearance). Film stocks are changed at will, with digital and Super 8 chopped together alongside a choice cuts from the director's extensive audio archive. The result is a fragmented, hypnotic slice of experimental cinema with just enough heart and universal appeal to warrant a wider release outside of the art installation clique. Both Louyre and Eden prove extremely watchable subjects, at times humorously documented by the camera-wielding Kötting. Eden's illness has clearly had severely damaging permanent effects on her speech and motor function, yet she is undoubtedly a content, creative, fun-loving twenty-something. Art classes and pop sing-alongs are the call of the day, with Eden’s parents keen to facilitate her every wish. Mirroring the affection between Kötting, his wife and daughter is a love for Louyre itself, a paradise of sorts where enjoyment, artistic fulfilment and learning are top of the agenda. For many, this is an unattainable pipe dream, but for Kötting the farmhouse becomes a magical, otherworldly space full or vibrancy, life and colour. This Our Still Life is a bewitching, hypnotic filmmaking experiment that thankfully works well. As a 20-year-plus portrait of Kötting's main loves - his daughter, his wife, Louyre and cinema - there is enough heart and emotional connection to entertain throughout, whilst concurrently offering up a number of deeper, existential readings for those willing to engage further

夜晚派对之后，艾娃离开了她的朋友，偷偷溜回家里，第二天醒来，发现床上的自己安然无恙，但那不是艾娃，而是一个长得像她的人。一个来自未来的女人窃取了艾娃的身体，占据了艾娃的身份和生命。而且她并不孤单，因为还有其他人也躲藏在过去，偷偷地生活在我们中间，密谋改变未来。失去了身体，艾娃是一个虚拟的幽灵，不能说话，没有形体。据她所知，她是唯一能阻止他们的人，并重新夺回时间生命线。

A Budapest high school in the beginning of the 1960s. Dinis suffers the torments of adolescence. His father had to leave Hungary after the uprise in 1956, and since then Dini's mother has had to take care of her two sons on her own. A friend of Dinis' father, Bodor, is released from prison and moves in with them. Dinis and his brother Bodor are far from happy over this intrusion of their family life.