Marta returns to her mom's house to spend some days with her little sister in Madrid. The girl's strange behavior and the latent memory of a sad event will lead Marta to suspect that the house hosts an unsettling presence.

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. 　　La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. 　　Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. 　　To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. 　　Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. 　　People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. 　　A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。

A team of paranormal investigators head for the highlands of Fraser's Hill, Malaysia, to probe a series of alleged disturbances at a house with a dark past.

A team of paranormal investigators head for the highlands of Fraser's Hill, Malaysia, to probe a series of alleged disturbances at a house with a dark past.

It doesn't move, it doesn't think, it just kills. For one young woman, a chance encounter with this supernatural entity proves devastating. Frankie learns that once you see the mannequin, there may be no end in sight, except for your own.

上海，巴黎，大兴安岭， 　　不同的地点，不同的故事，却存在着某种联系。 　　上海 　　來自森林的国光在老陸的飯館里當服务員，巧遇女孩小夏，正當两人關係日益密切，小夏却意外死于車禍。国光陷入孤獨，為了完成小夏的遺愿，他帶着骨灰登上了东方明珠塔。 　　巴黎 　　老陸的儿子陸浩在巴黎留学，晚上被盜，為了生存他只能打工，每天給脾气古怪的房东老劉送外賣，与他逐漸結成往年之交，陪伴老劉渡過了最后的時光。 　　大兴安岭 　　傳统的生活方式正受到現代社会的衝擊。作為一個養鹿人人，国光的大哥的生活經歷着這巨变。他讓妻子和孩子離開大山，在城市里面生活，而他選擇留在大山里，繼續着祖先的游牧生活。

影片主要通过原著中《食梦者》《一夜惊魂》《美美，别回头》三个小故事、围绕都市情感纠结展开，讲述了人性中的善与恶，传达牺牲小我成全大我的人文情怀。为了贴近网络受众的观影需求，本片邀请王李丹妮担任影片主演。