这部多通道电影和视频装置作品探究了20世纪初“巴格达铁路”这一具有历史意义的基础设施项目。该项目由德意志帝国出资并实施，它成为了帝国扩张、新兴金融资本主义和殖民债务政策的战略工具，使德国卷入了奥斯曼帝国的种族灭绝事件以及……

Director's Note 　　 　　“Our whole life can be nothing but one continued dream. Perhaps at the instant of death, we shall awake, and then see all that we believed real was nothing but a dream.” 　　Fénelon, Dialogues of the Dead (1712) 　　MUSA is the love story of two men, Simos and Musa, who probably met one night in an elusive, secretly erotic place. We follow them closely, during their first intimate moments. As their relationship evolves and they are living together, Musa strives to fit within unfamiliar circumstances, while Simos tries to control his possessiveness and enduring fear of losing his lover. Whenever his rationalization proves insufficient as a instrument for handling his crises, Simos opens the door that separates fantasy from reality and channels his fears into his dreams, which sooner or later become haunting nightmares. 　　All love stories have elements of mystery and a dark side. Love goes with loss. 　　Loss of the significant other, loss of desire, loss of self, up to the conclusion of all human drama: death. I wanted to tell this story the way we tend to remember our own love stories: not in a linear way, but in a spiral form, where fragments of reality, memories and fantasies 　　are put together, compressed in a short period of time. This aspect places MUSA in the vein of Hitchcock’s Vertigo, Verhoeven’s Turkish Delight, Lynch’s Mullholand Drive and Cronenberg’s Dead Ringers. 　　When narrating a real event, we keep adding complementary, invented incidents and we keep recounting that same story over and over again, becoming eventually unable to discern the real from the imaginary parts. We end up believing the whole story as unquestionably true, because we need to interpret it in a way that makes sense and enables us to overcome the terrible trauma of loss. This is the case with all our personal stories; this is also the case with the history of humanity.

Director's Note 　　 　　“Our whole life can be nothing but one continued dream. Perhaps at the instant of death, we shall awake, and then see all that we believed real was nothing but a dream.” 　　Fénelon, Dialogues of the Dead (1712) 　　MUSA is the love story of two men, Simos and Musa, who probably met one night in an elusive, secretly erotic place. We follow them closely, during their first intimate moments. As their relationship evolves and they are living together, Musa strives to fit within unfamiliar circumstances, while Simos tries to control his possessiveness and enduring fear of losing his lover. Whenever his rationalization proves insufficient as a instrument for handling his crises, Simos opens the door that separates fantasy from reality and channels his fears into his dreams, which sooner or later become haunting nightmares. 　　All love stories have elements of mystery and a dark side. Love goes with loss. 　　Loss of the significant other, loss of desire, loss of self, up to the conclusion of all human drama: death. I wanted to tell this story the way we tend to remember our own love stories: not in a linear way, but in a spiral form, where fragments of reality, memories and fantasies 　　are put together, compressed in a short period of time. This aspect places MUSA in the vein of Hitchcock’s Vertigo, Verhoeven’s Turkish Delight, Lynch’s Mullholand Drive and Cronenberg’s Dead Ringers. 　　When narrating a real event, we keep adding complementary, invented incidents and we keep recounting that same story over and over again, becoming eventually unable to discern the real from the imaginary parts. We end up believing the whole story as unquestionably true, because we need to interpret it in a way that makes sense and enables us to overcome the terrible trauma of loss. This is the case with all our personal stories; this is also the case with the history of humanity.

1994年，犹太裔美国教授黛博拉·利普斯塔特就自己的著作《否认大屠杀》和《对事实与记忆日益增长的歪曲》发表演说时，遭到右翼英国作家大卫·欧文的质询。欧文坚称黛博拉在其著作中称自己为“犹太大屠杀否认者”是恶意诽谤，并将其诉诸法庭。一贯不愿与人就“大屠杀”辩论的黛博拉无法忍受欧文在媒体上冠冕堂皇地大谈对大屠杀历史的否认，她请来英国著名律师安东尼·作为法律顾问，并由安东尼组建了专家组和法律团队。2000年1月11日英国皇家法院正式开庭审理此案。庭审初期，欧文显得更占上风，黛博拉按耐不住焦急的情绪，而安东尼和德高望重的辩护律师理查德·兰普顿表现得十分冷静。在接下来的几轮激烈交锋中，理查德通过整理欧文的大量日记、亲身丈量奥斯维辛集中营的距离，提出有利的证据反驳欧文的论断。经过三个月的漫长审理，法官最终判决黛博拉·利普斯塔特获胜。 　　影片改编自黛博拉·利普斯塔特的自传小说。

在利普斯塔特的案件中，她聘请了法务官安东尼·朱理斯与出庭律师理查德·兰普顿为自己服务，两位法务工作者均为优秀的处理诽谤案件的律师。为赢得诉讼，并驳回欧文提出的诽谤主张，利普斯塔特和她的辩护团队着手准备材料...

The long running television series of the Grange Hill Comprehensive School, and the children's everyday lives.

The long running television series of the Grange Hill Comprehensive School, and the children's everyday lives.

2019年，全港運動會迎來第七屆，得到了香港市民的齊心支持。本屆賽事將於4月28日正式揭幕，在此之前，十八區區議會率先開展了多種不同類型的周邊活動，以此凝聚社區力量，鼓勵大家積極參與這場兩年一度的本地體育盛事。富有年青活力的王庭鋒和丁子田擔任前奏節目主持，他們實地探訪運動員，了解其備戰情況，還會穿梭於全港十八區，提前為大家報道本屆港運會的各項熱辣資訊！

全港運動會在2019年踏入第七屆，香港市民齊心支持。今屆賽事將於4月28日正式揭幕，而十八區區議會率先舉辦多項不同類型的周邊活動，凝聚社區力量，鼓勵大家積極參與這項兩年一度的本地體育盛事。充滿年青活力的王庭鋒、丁子田擔任前奏節目主持，實地了解一眾運動員的備戰情況，並會穿梭全港十八區，搶先報道今屆港運會各項火熱資訊！