抬头望去，深邃的夜幕将万物拢入怀中。千般豪情在此刻也凝作疑问—— 日月安属？列星安陈？辽阔的宇宙，久远的时间，无一不在质询人类的渺小。 但偏偏，正是那渺小的人类…能够行过漫长的旅程，能够创造不朽的奇迹。

配信に集うライバーとリスナーを双方向から描く本作。

林小棠在直播过程中意外穿到饥荒年代，被年幼的林小绵捡回了家。这时，恶毒的婶婶梁淑芬找上门来，林小棠得知，梁淑芬不仅克扣粮食、虐待林小绵姐妹，还抢走了两人母亲留下的唯一遗物。林小棠见状，只好与她打赌：如果自己能拿出十斤粮食，梁淑芬就必须归还遗物。林小棠为此回到现代，可梁淑芬却趁机上门欺辱林小绵，就在千钧一发之际，林小棠开着装满现代物资的大货车闪亮登场！

配信に集うライバーとリスナーを双方向から描く本作。

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

没有固定工作的青年田村直人（山田裕贵 饰）这一天收到一个神秘包裹，里面装有作家山田悠介的小说《生死实况（Live）》。不久，一条视频短信发到直人的手机上，谁知视频里竟然是母亲被绑架的骇人一幕。画面中的神秘男子宣称，如果不想母亲被注射致命病毒死掉的话，那就必须按照《生死实况》中的提示展开争分夺秒的生死救援。直人虽然搞不清为什么会遭遇这种事件，但为了最爱的母亲，他还是加快了营救的步伐。及至来到街上才发现，还有很多人跟他有着同样的遭遇，他们穿上运动服，进行着这场攸关生死的残酷竞技赛……