改编自比利时著名小说家艾蜜莉诺彤的畅销小说，剧情描述天真热情的艾蜜莉，来到日本一家著名的企业准备履行一年的工作契约。她的工作内容是翻译员，她抱着满腔热情准备接受这份新工作，没想到，她所遇到的是一个毫不留情的日式阶级制度体系内。从片头第一句话就可看出“羽田先生是欧七先生的上司，欧七先生是齐蕂先生的上司，齐藤先生是森小姐的上司，而森小姐是我的上司。至于我呢? 没有任何下属。”日式一板一眼的制式企业文化中，艾蜜莉是否能全身而退呢?

改编自比利时著名小说家艾蜜莉诺彤的畅销小说，剧情描述天真热情的艾蜜莉，来到日本一家著名的企业准备履行一年的工作契约。她的工作内容是翻译员，她抱…

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

面对社会对双性恋的诸多污名和误解，为了探究双性恋究竟是什么样的？TA们有着什么样的生活经验？Ta们如何看待性别、出柜等话题？……作为双性恋中的一员，导演踏上了寻找双性恋的道路，在这个不断提问和回答的过程中，她发现双性恋有着迥然不同甚至相互矛盾的经验和感受，于是，那些关于双性恋的问题似乎没有得到答案，反而更加疑惑…… 　　这部片子展现了双性恋群体多元丰富的生活和经验，那些自我认同的追寻、那些穿插在男人、女人之间的恋爱和情欲关系、出柜的迷惑和矛盾、以及对爱和性的追求与迷思。

面对社会对双性恋的诸多污名和误解，为了探究双性恋究竟是什么样的？TA们有着什么样的生活经验？Ta们如何看待性别、出柜等话题？……作为双性恋中的一员，导演踏上了寻找双性恋的道路，在这个不断提问和回答的过程中，她发现双性恋有着迥然不同甚至相互矛盾的经验和感受，于是，那些关于双性恋的问题似乎没有得到答案，反而更加疑惑…… 　　这部片子展现了双性恋群体多元丰富的生活和经验，那些自我认同的追寻、那些穿插在男人、女人之间的恋爱和情欲关系、出柜的迷惑和矛盾、以及对爱和性的追求与迷思。