香港首個演唱會躍登戲院大銀幕，容祖兒演唱會《ANOTHER SIDE .....JOEY·MY SECRET·LIVE》一票難求，英皇戲院獨家完整呈現祖兒與團隊心血之作，演唱會由2017年「JOEY・MY SECRET・LIVE」原班製作團隊打造，由彭秀慧擔任演唱會導演，何秉舜擔任音樂總監。 　　延續34晚香港演藝學院舞台感動。巨幕上欣賞一首又一首容祖兒的滄海遺珠，每一個動人的瞬間配上超凡的舞台效果多角度呈現，讓觀眾恍如置身演唱會現場，沉浸式感受容祖兒的秘密花園，1.19起英皇戲院限量上映。

香港首個演唱會躍登戲院大銀幕，容祖兒演唱會《ANOTHER SIDE .....JOEY·MY SECRET·LIVE》一票難求，英皇戲院獨家完整呈現祖兒與團隊心血之作，演唱會由2017年「JOEY・MY SECRET・LIVE」原班製作團隊打造，由彭秀慧擔任演唱會導演，何秉舜擔任音樂總監。 　　延續34晚香港演藝學院舞台感動。巨幕上欣賞一首又一首容祖兒的滄海遺珠，每一個動人的瞬間配上超凡的舞台效果多角度呈現，讓觀眾恍如置身演唱會現場，沉浸式感受容祖兒的秘密花園，1.19起英皇戲院限量上映。

At eleven years old Joe Norman is told by his dying father that he is an alien hiding on earth. Joe believes him. He grows up to be a die-hard fan-boy working in a comic shop. When he falls for down-to-earth Maria, a fellow sci-fi fan, he is inspired to lead a more normal social existence. Until intergalactic bounty hunters track Joe down at his new office and the couple soon learn the dangerous truth about who Joe really is.

Tee是城里的一位成功商人，他久别后回到家乡，去查看一栋打算出售的老房子。在那里，他和旧情人Poom重逢了，Poom在老房子的一楼开了一家咖啡馆。两人此前已将过去的感情尘封，然而随着他们在同一空间共处，“停摆的时钟”再度开始运转……出售老房子的截止日期、和父亲的矛盾，还有“再抱他一次”的欲望，都成了故事的组成部分。

Winner of the International Emmy Award for Best Telenovela, "Side by Side" focuses on two women of different origins and social classes. The brave Isabel, daughter of a former slave and in love with the capoeira player Zé Maria; and Laura, descendant from a wealthy family and destined to an undesired marriage to Edgar. In addition to an unshakable friendship, the two share the same purpose in life: the conquest of freedom in the conservative society of Rio de Janeiro of the early 20th century.

Men and women search for intimacy and meaning in their lives.

After a chain of deaths at a junior high school, new transfer student Koichi Sakakibara turns to a mysterious girl who holds the key to the dark mystery.

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)

In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video. (Letterboxd)

Follows a struggling movie studio that's willing to do anything to make some money - even if it means ruining their reputation, and running the movie industry into the ground.