重拾1979年中断的拍摄，2010 TIDF焦点导演塔西米克的返乡包裹中藏有他35年来追寻的菲律宾历史，这是官方文献，也是众人熟悉的KTV民谣。从航海家麦哲伦的环游世界，到仆人安立奎版的奇想与家庭录像，他将家乡回忆发酵成当下经历，自由混杂各种电影语言，用时间实现这趟不断更新的记忆与认同之旅。

重拾1979年中断的拍摄，2010 TIDF焦点导演塔西米克的返乡包裹中藏有他35年来追寻的菲律宾历史，这是官方文献，也是众人熟悉的KTV民谣。从航海家麦哲伦的环游世界，到仆人安立奎版的奇想与家庭录像，他将家乡回忆发酵成当下经历，自由混杂各种电影语言，用时间实现这趟不断更新的记忆与认同之旅。

当他感到失望时，他们相遇了。错误是由亲密关系引起的，他们的关系也不清楚。最后会怎样？与《学长的爱情攻心计》(2020)类似的故事。讲述Mark和vee之间的完整故事。《Love Mechanics》的时间线是在Neur遇到Praram之前。这部将会有他和Mark的感情。 　　When the disappointment struck him, they met. Mistakes are caused by intimacy and their relationship was unclear. How will it end up? 　　A parallel story to "En of Love: Love Mechanics" (2020). Tells the full length story between Mark and Vee. The timeline of "Love Mechanics" is before Nuea meet Praram. First, he caught feelings with Mark.

当他感到失望时，他们相遇了。错误是由亲密关系引起的，他们的关系也不清楚。最后会怎样？与《学长的爱情攻心计》(2020)类似的故事。讲述Mark和vee之间的完整故事。《Love Mechanics》的时间线是在Neur遇到Praram之前。这部将会有他和Mark的感情。 　　When the disappointment struck him, they met. Mistakes are caused by intimacy and their relationship was unclear. How will it end up? 　　A parallel story to "En of Love: Love Mechanics" (2020). Tells the full length story between Mark and Vee. The timeline of "Love Mechanics" is before Nuea meet Praram. First, he caught feelings with Mark.

当他感到失望时，他们相遇了。错误是由亲密关系引起的，他们的关系也不清楚。最后会怎样？与《学长的爱情攻心计》(2020)类似的故事。讲述Mark和vee之间的完整故事。《Love Mechanics》的时间线是在Neur遇到Praram之前。这部将会有他和Mark的感情。 　　When the disappointment struck him, they met. Mistakes are caused by intimacy and their relationship was unclear. How will it end up? 　　A parallel story to "En of Love: Love Mechanics" (2020). Tells the full length story between Mark and Vee. The timeline of "Love Mechanics" is before Nuea meet Praram. First, he caught feelings with Mark.

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。