如果这是梦，那也太过真实了。谁会猜到仅仅是一觉醒来，命运给“nakhoon”开了一个玩笑，穿越到了近400年前的阿瑜陀耶时代。在疑惑中害怕，所有人都叫他为“klao”，下落不明的罪人銮·裕甲巴的儿子。他必须要假装“klao”生活，并努力寻找回到现代的办法，解开真正的klao身上 的谜团，但越寻找，就越遇到更多可疑的事情。还有“phop大人，和klao关系亲密的哥哥，视线无时无刻不在跟随着他，而他也发现，自己愈发对那个人的视线感到无措彷徨。

苏府婿女苏沫璃为了抢夺王后之位，偷走了妹妹和太子的定情信物，和奸臣一起把妹妹苏念鱼害死，强迫其喝下毒酒，就在苏念鱼死的一瞬间，电闪雷鸣，一切都穿越回到了苏念鱼18岁那年，苏沫璃还是处处刁难，太子终于出手了，救下了苏念鱼，这一次苏念鱼要拿回属于自己的一切。

如果这是梦，那也太过真实了。谁会猜到仅仅是一觉醒来，命运给“nakhoon”开了一个玩笑，穿越到了近400年前的阿瑜陀耶时代。在疑惑中害怕，所有人都叫他为“klao”，下落不明的罪人銮·裕甲巴的儿子。他必须要假装“klao”生活，并努力寻找回到现代的办法，解开真正的klao身上 的谜团，但越寻找，就越遇到更多可疑的事情。还有“phop大人，和klao关系亲密的哥哥，视线无时无刻不在跟随着他，而他也发现，自己愈发对那个人的视线感到无措彷徨。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

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。