John is a shipmaster on a very small transportation boat which regularly attends a very small harbour to buy food, actually from Anna's father. She is a waitress and has a young daughter. She tells John that her name is Anita. They have met many times, but their first personal meeting is when both are swimming in early morning. John is asked to have morning coffee with Anna's family. He invites her and her child to a trip to Zoo in Copenhagen. Both have genuine feelings for each other. There are lovely three-some scenes when John is proud of "being" a father, and beautiful love scenes. Christina Schollin's naked body is cute but never obtrusive. But at that time girls were depreciated if they "gave in" too soon. So these scenes repeatedly alternate with hot misunderstandings, well-known exactly when two people with genuine feelings fear misunderstandings and try to preclude them. In the last minutes of the movie, when each has left the "harbour village" on the next day, and John has learned the real name of "Anita" and calls her from the boat, both realise without saying anything about it, that this is the beginning of a long relationship based on mutual feelings.

John is a shipmaster on a very small transportation boat which regularly attends a very small harbour to buy food, actually from Anna's father. She is a waitress and has a young daughter. She tells John that her name is Anita. They have met many times, but their first personal meeting is when both are swimming in early morning. John is asked to have morning coffee with Anna's family. He invites her and her child to a trip to Zoo in Copenhagen. Both have genuine feelings for each other. There are lovely three-some scenes when John is proud of "being" a father, and beautiful love scenes. Christina Schollin's naked body is cute but never obtrusive. But at that time girls were depreciated if they "gave in" too soon. So these scenes repeatedly alternate with hot misunderstandings, well-known exactly when two people with genuine feelings fear misunderstandings and try to preclude them. In the last minutes of the movie, when each has left the "harbour village" on the next day, and John has learned the real name of "Anita" and calls her from the boat, both realise without saying anything about it, that this is the beginning of a long relationship based on mutual feelings.

《回憶：亞洲女孩》是一件結合影像與劇場的作品。透過催眠，我遇見了自己的前世，一位生於1955年的東亞女子。扮裝皇后與演員詩翰，他以自己的女性化身Hannah，在劇場中詮釋了這個女子的故事，也加入了我（牛俊強）、簡詩翰成長的歷程，以及我們在成長過程中，情感的追尋。 　　我過去的作品以個體與集體的互相影響、想像與投射在我們的日常生活中作用。在《回憶：亞洲女孩》中，觀眾以一種新的方式看變裝和催眠，這裡面都有一種角色轉換狀態，「扮裝」 不只是性別的切換，還有扮裝者對角色的投影、附身的狀態。這和催眠當下，被催眠者的「像是屬於你又不是你的」的意識狀態一樣，可以帶我們離開現狀，拉出一個距離重新看待我們的人生。 　　這件作品透過催眠，看見集體意識對個體的影響。前世可能是發生過的事，也可能是我們抓取集體意識下的縮影，變成我們生命故事的比喻。片名取為《回憶》，辯證催眠中的前世的真實性。這些故事，是我來到此世前，真的發生過的事情？而或是我的潛意識集結了小說、電影、新聞所有集體意識的產物，重新編輯而成的「記憶」呢？藉著導演、演員、導演的前世，看見東亞的陰性的主體，從1980 至今，不同時空中的的變化。 　　導演：牛俊薔 　　製片：丁肇輝 　　共同創作：簡詩翰 　　演出：Hannah Monina 　　催眠師：Carol Liu 　　攝影師：王艾如、李瑋琦 　　調光：邱程勇 　　執行製片 ：楊沛霖 　　藝術家助理：林沛儀、黃育晨 　　製片助理：許丞皓、楊慧欣、林子寧 　　翻譯：蕭辰宇 　　This is a documentary that discusses drag, past lives, and healing through projection. “What should we do to love ourself entirely ?” Jun Qiang and Shih Han wonder how to fine “him”- the right person to finish the wandering with single state after many years. Jun Qiang met his past life - the Asian girl by hypnosis. She uncovers the blind spots of Qiang’s relationship and the barrier that he can’t love all himself heartedly. In this performance, Shih Han will invite his feminine avatar- Hannah to represent this Asian girl’s life, she will bring love, honesty and comfort to us tonight.

運用現成影像書寫的偽日記電影，聲音與影像時而呼應，時而矛盾，交織出一段平行敘事。聲音是一名女子敘述與另一名女子之間的同志愛，影像是男子們進行各式軍事訓練，如臨大敵。

日蝕之時，太陽和月亮結合並發出了一個訊息：人類將消失。世界理事會決定派遣其最好的談判代表來阻止世界末日的到來。

日蝕之時，太陽和月亮結合並發出了一個訊息：人類將消失。世界理事會決定派遣其最好的談判代表來阻止世界末日的到來。

百万富翁在公寓里心脏病突发身亡，他的贴身秘书大卫原本只是因工作需要而去了解老板的背景，然而他发现原来居然无人知道老板的任何身世，甚至老板的妻子。他如何敛财，如何交到这么多让人羡慕的好运发家的？种种谜团缠绕着大卫，大卫顺着线索一路追查下去，终于查到老板和二战纳粹做过许许多多见不得光的交易