边缘学生卜羽成，在高考前为了追一个女孩，和好友成立了一支小队，决定在校园内给她放一场烟花，但是结果却阴差阳错的给整个学校的枯燥学习生活带来了一个奇幻的小插曲，成为了大家记忆中的一抹亮色

边缘学生卜羽成，在高考前为了追一个女孩，和好友成立了一支小队，决定在校园内给她放一场烟花，但是结果却阴差阳错的给整个学校的枯燥学习生活带来了一个奇幻的小插曲，成为了大家记忆中的一抹亮色

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

男主因就业诈骗而不得不为了谋生而暂时加入一家专门清理犯罪现场的清洁公司，而入职后的一次清洁工作却意外引出了其背后的就业诈骗团伙。

Light on Earth will examine the phenomena of so-called bioluminescence.

事件发生在当代莫斯科。一场车祸后，冠军运动员谢尔盖·博罗兹丁突然有了看到过去事件的通灵能力。同时他也卷入谋杀事件，成为一系列谋杀案的嫌疑人，他被迫不断利用这种能力回溯时间找到真正的凶手。

事件发生在当代莫斯科。一场车祸后，冠军运动员谢尔盖·博罗兹丁突然有了看到过去事件的通灵能力。同时他也卷入谋杀事件，成为一系列谋杀案的嫌疑人，他被迫不断利用这种能力回溯时间找到真正的凶手。

阿肯（查克里特·布恩辛 Chakrit Boonsing 饰）是学校里公认的校草，不仅拥有非常英俊帅气的外表，成绩在校园里也是一马当先。阿奇（披提功·西瑞彭栓 Pittikorn Siripornsawan 饰）个性内向，只是一个普普通通的小宅男，一次偶然中，阿奇撞到了阿肯，两人就此相识。之后，他们又在缘分的驱使之下几番重逢。随着时间的推移，阿肯渐渐的被阿奇吸引了。 　　阿肯和阿奇亲密的照片被曝光在了校园网上，这让阿奇立刻就遭受到了阿肯的崇拜者们疯狂的网络暴力，无法承受的阿奇向阿肯提出了分手，不知所措的阿肯在情急之下，做出了伤害阿奇的事情。