大唛（刘青云 饰）与克仔（周文健 饰）及Bowie（林保怡 饰）三个死党，均染上赌马嗜好，利用赌马去制造梦想与成就。而大唛幸有何May（吴倩莲 饰）的鼓励与提点，尚不至恋马烂赌之徒。一次，Bowie找到一部电话偷听器，怂勇大唛与克仔在马场宿舍偷听练马师贴士，结果赢得万多元，而大唛便把所赢款项尽交阿May保管。为赢钱他们重施故技，大唛更想藉此赢得老婆本，好向阿May求婚，谁料练马师坠马而弄致全军尽墨，结果大唛不单拖欠贵利，更受到外父臭骂，又令母亲失望。面对这样的困境，大唛会再重投马场一赌？还是改过自新，自食其力？这也正是普遍香港“赌仔”要面对的问题。

大唛（刘青云 饰）与克仔（周文健 饰）及Bowie（林保怡 饰）三个死党，均染上赌马嗜好，利用赌马去制造梦想与成就。而大唛幸有何May（吴倩莲 饰）的鼓励与提点，尚不至恋马烂赌之徒。一次，Bowie找到一部电话偷听器，怂勇大唛与克仔在马场宿舍偷听练马师贴士，结果赢得万多元，而大唛便把所赢款项尽交阿May保管。为赢钱他们重施故技，大唛更想藉此赢得老婆本，好向阿May求婚，谁料练马师坠马而弄致全军尽墨，结果大唛不单拖欠贵利，更受到外父臭骂，又令母亲失望。面对这样的困境，大唛会再重投马场一赌？还是改过自新，自食其力？这也正是普遍香港“赌仔”要面对的问题。

Dear Brigitte is one of the funniest comedies from the 1960s, about a tone-deaf, color-blind boy genius with one interest: Brigitte Bardot. James Stewart plays professor Robert Leaf, a typical college professor (when speaking of college professors typical means liberal, but this was 40 years ago and labels change). Leaf teaches poetry, lives in a houseboat in San Francisco, vocally opposes nuclear power and progress in general. He has an original way to make the family stick together - family concerts. His daughter calls him square. Leaf's 8-year old son Erasmus is played by Billy Mumy (Sammy the Way Out Seal, Lost In Space, Bless The Beasts & Children, Three Wishes). Leaf hopes to find artistic genius of some sort in his only son, and nurtures him in music, painting, literature, etc. But Leaf is disappointed, to put it mildly, when it turns out Erasmus has a gift for math, can out-think the colleges newest computer, instantly compute horse-race winners. I don't want to give away too much of the plot, but Erasmus had been writing to Bardot regularly, and after the family comes to depend on his ability, his love-sickness causes a mental block. Glynis Johns (Father's Delicate Condition, The Cabinet of Caligari, Mary Poppins) plays Leaf's wife. Ed Wynn (Requiem For A Heavyweight, Mary Poppins) is a neighbor / captain / narrator. Other cast include Fabian, Cindy Carol, John Williams, Jesse White, Jack Kruschen, and James Brolin in an early bit part. Brigitte Bardot appears at the end.

Dear Brigitte is one of the funniest comedies from the 1960s, about a tone-deaf, color-blind boy genius with one interest: Brigitte Bardot. James Stewart plays professor Robert Leaf, a typical college professor (when speaking of college professors typical means liberal, but this was 40 years ago and labels change). Leaf teaches poetry, lives in a houseboat in San Francisco, vocally opposes nuclear power and progress in general. He has an original way to make the family stick together - family concerts. His daughter calls him square. Leaf's 8-year old son Erasmus is played by Billy Mumy (Sammy the Way Out Seal, Lost In Space, Bless The Beasts & Children, Three Wishes). Leaf hopes to find artistic genius of some sort in his only son, and nurtures him in music, painting, literature, etc. But Leaf is disappointed, to put it mildly, when it turns out Erasmus has a gift for math, can out-think the colleges newest computer, instantly compute horse-race winners. I don't want to give away too much of the plot, but Erasmus had been writing to Bardot regularly, and after the family comes to depend on his ability, his love-sickness causes a mental block. Glynis Johns (Father's Delicate Condition, The Cabinet of Caligari, Mary Poppins) plays Leaf's wife. Ed Wynn (Requiem For A Heavyweight, Mary Poppins) is a neighbor / captain / narrator. Other cast include Fabian, Cindy Carol, John Williams, Jesse White, Jack Kruschen, and James Brolin in an early bit part. Brigitte Bardot appears at the end.

Philosopher Zhuang Zi once dreamt he was a butterfly. This pleasant daydream tells this old story from a new perspective. Modern butterflies apparently dream in VR. Nature, technology and spirituality seamlessly meld when a monk and a child both embrace modern technology their own way

Philosopher Zhuang Zi once dreamt he was a butterfly. This pleasant daydream tells this old story from a new perspective. Modern butterflies apparently dream in VR. Nature, technology and spirituality seamlessly meld when a monk and a child both embrace modern technology their own way

Follows two best friends on their final night together, with nightmare of drugs, bugs and horrific intimacy.

此片可谓布莱特·派柏职业后期的大制作手笔，其预算高达14万美元，影片成本之高，为派柏职业生涯中首屈一指，他自己将其称为“侏罗纪公园”式的巨制。这部影片的剧本十分出色，具有娱乐性，其中诸如怪兽从海中飞翔...

《吞羊》是一部以现实入手，着眼于人性与品质表达的微电影，影片主要讲述了羊河村的赵有才一家，因意外捡到了孙寡妇去世后出逃的母羊，而卷入了一场人性风暴的故事。在这场风暴中，大智若愚者手握光明，大巧若拙者脚踏黑暗。本片聚焦人性的碰撞与摩擦，嘱人家风之重，给人警醒之意，予人深刻反思。

在太阳疾速流转的星球上，某个清晨，垂暮老者化作少女之躯。本因衰老与创伤彻底枯槁的身躯，竟一日复苏一肢——首日双臂舒展，次日腰背挺立。肌理渐润如玉，步履如风轻曳。至新月夜，少女已能舒展全身，踏影翩跹，宛若蝶破茧而生。老者在混沌意识中，曾日复一日卧于病榻低喃：“若世间确有‘爱’之存在，是否注定此生永隔于它？……呵，若能以指尖轻触一次她的面颊，也算得偿夙愿罢。” 　　另一时空，老者的女儿已至中年。她终能与同性恋人十指相扣，坦荡行于长街。往昔在父亲面前竭力藏匿的情愫，如今早已温柔地放下了被理解或宽宥的执念。二人常倚窗私语，谈论那游离于五次元维度的“爱之能量”—— 　　“若重力是这星球爱意的具象……” 　　“那我便，背弃此间星辰。”