该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

一群中国留学生穿梭于波士顿的各个地方，游走在市中心与郊区之间。我们不知道他们的具体关系，只知道他们生活的局部，和他们身处的地方。我们看见他们在街道上漫游，或在原地思考些什么。一场偶遇，聚会，别离仿佛即将发生在他们身上，但又因为他们的出画而戛然而止。尽管生活慢慢步入正轨，但仍有一种暗流隐藏在凝滞的日常碎片之中。

路易是一名大红大紫的歌星，一次偶然中，他结识了舞蹈演员安妮塔，两人一见倾心犹如干柴烈火，结成了一段浪漫又刺激的露水情缘。路易发现了安妮塔杰出的歌唱天赋，便顺水推舟将她捧上了乐坛。之后，一个名叫茱莉亚的女人走进了路易的生活，漂亮的茱莉亚很快就俘获了路易的真心，但很快路易便发现，茱莉亚的身后掩藏了一个惊人的秘密。 感情上受到了伤害，路易离开了茱莉亚流落异国，在那里，他遇见了越南女孩软玉诗，玉诗的温柔和善良温暖了路易的心灵。在感情上屡受挫折的路易这一次是否能够把握难能可贵的真爱呢？

当红歌星Louie（张国荣饰），偶然中和伴舞女孩（梅艳芳饰）演相遇。于是，二人与父亲的秘密女友、逃难的越南姑娘在不同的时间地点发生了一段意想不到的感情纠葛。

在一个天高海阔的美丽所在，清新淳朴的东方女孩（苍井优 饰）出现在了完全陌生的异国小镇。她在镇上漫无目的地游走，人们走出来像摆弄商品一样前后看一看，确认这不是他们所要的“东西”后走进屋内。女孩不知自己是谁，也不知道关于过去现在未来的种种。在少年的帮助下，她得以找到暂时歇脚的场所。次日，女孩走上街头，如同置身世外的存在，尽情体味着小镇的欢快气氛。但是，头脑中不时闪过的影像又似乎让她想起什么。模模糊糊的记忆，美轮美奂的小镇，一切如梦如幻…… 　　本片为广告导演小松真弓的长篇电影处女作。

在一个天高海阔的美丽所在，清新淳朴的东方女孩（苍井优 饰）出现在了完全陌生的异国小镇。她在镇上漫无目的地游走，人们走出来像摆弄商品一样前后看一看，确认这不是他们所要的“东西”后走进屋内。女孩不知自己是谁，也不知道关于过去现在未来的种种。在少年的帮助下，她得以找到暂时歇脚的场所。次日，女孩走上街头，如同置身世外的存在，尽情体味着小镇的欢快气氛。但是，头脑中不时闪过的影像又似乎让她想起什么。模模糊糊的记忆，美轮美奂的小镇，一切如梦如幻…… 　　本片为广告导演小松真弓的长篇电影处女作。