身为南极考察队成员的 “我”，因生理期未随队外出，侥幸躲过全队遇难的事故，独自发现一座废弃观察站。极昼将在 37 天后转极夜，若未抵达 15 公里外的目标观察站，“我” 终将冻死。 观察站内有物资与可运转的煤油发电机，暂时解决了温饱取暖。“我” 依据地图向东南侧探寻，可冰原无参照物，方向屡屡出错，还遭遇暴风雪、冰缝、落水等险境，身心俱疲。 日子推移，食物与燃料日渐匮乏，第 36 天只剩最后一包压缩饼干。“我” 孤注一掷出发，遭十级大风阻拦，午夜风停后继续跋涉 4 小时，抵达目的地却一无所获。极夜降临，“我” 绝望闭眼失去知觉，绝境中却隐约听到呼喊，留下一线生机悬念。

Vincent, a truck driver, picks up a young pregnant woman. She turns out to have an unstable temper… and an automatic pistol. She orders Vincent to continue driving, without stopping. When he's out of gas, she'll kill him.

A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

March 27th, 1964. The New York Times published an article headlined '37 Who Saw Murder Didn't Call the Police.' For more than half an hour, 37 law abiding citizens in Queens watched their neighbor, Kitty Genovese, being brutally killed outside their apartment building. Florel and Jack Bernstein were among those bystanders. A shirt film.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

天才程序员徐念真为追查妹妹失踪案，潜入自己开发的约会软件Himate，锁定四位嫌疑人，包括白天是仁医、夜晚疑似"猎手"的脑外科医生封烬。两人在危险中互生情愫，但封烬的嫌疑让这段感情布满阴霾。暗恋封烬多年的项岚暗中下药离间二人，而项昊的异常举动也暗藏秘密。当徐念真失忆，项岚兄妹趁虚而入，真相却指向项昊。就在谜底将揭时，奶奶失踪、封烬受伤消失，血色红裙坠崖的真相仍被迷雾笼罩。

天才程序员徐念真为追查妹妹失踪案，潜入自己开发的约会软件Himate，锁定四位嫌疑人，包括白天是仁医、夜晚疑似"猎手"的脑外科医生封烬。两人在危险中互生情愫，但封烬的嫌疑让这段感情布满阴霾。暗恋封烬多年的项岚暗中下药离间二人，而项昊的异常举动也暗藏秘密。当徐念真失忆，项岚兄妹趁虚而入，真相却指向项昊。就在谜底将揭时，奶奶失踪、封烬受伤消失，血色红裙坠崖的真相仍被迷雾笼罩。