A city boy visits a remote village to find out the reason behind his father's strange death. The locals are watching his every move and are eager to see him leave. As he starts to investigate, the village's sinister secrets begin to unravel.

TV play by Bernard Kops. Moss is a miser who only love is his grandson. Then tragedy strikes and Moss is "reborn".

It doesn't look spectacular at first. Two boys each talk separately about their experiences. In the end also on the sexual level. In the end they are also in the room together. In the end they don't leave it at talking. Remember that homosexuality on film is banned in Thailand and so this film maker has been very daring. 　　Europeans on sex holidays to Thailand and transvestites who work in tourist areas may give a different impression, but this country is far from liberal in regard to homosexuality. A candid film maker like Thunska Pansittivorakul is therefore sure to come into contact with censorship sooner or later. So anyone who wonders why the two kids in this film keep their pants on right up to the end now knows the answer. 　　That doesn't mean that Pansittivorakul is prudish or cautious. You can only call him courageous and maybe even a little obsessed. Sex, gay sex, is his major theme and he has talked plenty of boys out of their clothes for his films. 　　And he has a very outspoken opinion about other things. The film pointedly tackles several Thai political incidents. These subjects may not be hot off the press, because it took the maker three years to complete the film after it was shot. 　　The documentary film shows two boys in a hotel room. First they are questioned individually. The first is a Moslem boy from the South. He is asked about politically and personally sensitive issues. He is then followed by a Buddhist boy from the North. Then they are observed chatting together and finally making love.

It doesn't look spectacular at first. Two boys each talk separately about their experiences. In the end also on the sexual level. In the end they are also in the room together. In the end they don't leave it at talking. Remember that homosexuality on film is banned in Thailand and so this film maker has been very daring. 　　Europeans on sex holidays to Thailand and transvestites who work in tourist areas may give a different impression, but this country is far from liberal in regard to homosexuality. A candid film maker like Thunska Pansittivorakul is therefore sure to come into contact with censorship sooner or later. So anyone who wonders why the two kids in this film keep their pants on right up to the end now knows the answer. 　　That doesn't mean that Pansittivorakul is prudish or cautious. You can only call him courageous and maybe even a little obsessed. Sex, gay sex, is his major theme and he has talked plenty of boys out of their clothes for his films. 　　And he has a very outspoken opinion about other things. The film pointedly tackles several Thai political incidents. These subjects may not be hot off the press, because it took the maker three years to complete the film after it was shot. 　　The documentary film shows two boys in a hotel room. First they are questioned individually. The first is a Moslem boy from the South. He is asked about politically and personally sensitive issues. He is then followed by a Buddhist boy from the North. Then they are observed chatting together and finally making love.

人类蜗居在银河系的一个小角落——太阳系，在围绕太阳旋转的第三颗行星上，生活了十多万年之久。 　　人类在这个小小的行星（他们称之为“地球”）上，…

不是陨石撞击地球，也不是恐怖份子的全球威胁，更不是发生核子战争，人类熟悉的世界一夕之间面目全非，没有人知道是什么原因导致全球电力系统故障，消灭所有生命，唯独一个位于东欧的小区域幸存下来，仍保有正常的电力运作。面对毁天灭地的灾难，这个人类最后的希望堡垒必须全力反击，阻止这场灭绝浩劫……

在广东汕头的一个工厂里，八岁的李博有一个属于他的秘密基地。在这个秘密基地中，他与他的外省好朋友孙伟每天中午都会偷偷地一块玩耍。但是有一天，当李博得知孙伟在学校里受到本地孩子的欺负后，他决定帮助孙伟，而这一决定使得一切开始发生改变…

在广东汕头的一个工厂里，八岁的李博有一个属于他的秘密基地。在这个秘密基地中，他与他的外省好朋友孙伟每天中午都会偷偷地一块玩耍。但是有一天，当李博得知孙伟在学校里受到本地孩子的欺负后，他决定帮助孙伟，而这一决定使得一切开始发生改变…

炙热的地温，弥漫的沙尘，戈壁的某处，一个大型产业园的“基建”正在严酷的自然环境中进行着。这个工程是如此巨大，以至人们穿行其间的身影显得格外渺小。沙尘之中，这些为基建而迁徙的人们，在一天的劳作后，回到临时搭建的帐篷区。摄像机之眼穿行于简易的生活设施和陪伴着的家人之间。在周滔《基地之侧》的影片中，摄像机并不是聚焦在这个庞大的系统工程主体，反而转向它的背面，看到那些沙尘中下班休息的人们、临时搭建的帐篷生活区，以及更远的风景。摄影机的眼睛，因持续沙尘的侵蚀突然失去往常辨析光影的能力，而它依然努力捕捉着这个世界抽象的光影——那在数码影像虚拟的身体上残留的余痕。

炙热的地温，弥漫的沙尘，戈壁的某处，一个大型产业园的“基建”正在严酷的自然环境中进行着。这个工程是如此巨大，以至人们穿行其间的身影显得格外渺小。沙尘之中，这些为基建而迁徙的人们，在一天的劳作后，回到临时搭建的帐篷区。摄像机之眼穿行于简易的生活设施和陪伴着的家人之间。在周滔《基地之侧》的影片中，摄像机并不是聚焦在这个庞大的系统工程主体，反而转向它的背面，看到那些沙尘中下班休息的人们、临时搭建的帐篷生活区，以及更远的风景。摄影机的眼睛，因持续沙尘的侵蚀突然失去往常辨析光影的能力，而它依然努力捕捉着这个世界抽象的光影——那在数码影像虚拟的身体上残留的余痕。