赘婿林更生自私暴戾，家暴妻子晏宁、重男轻女，为夺家产虐杀晏宁，还强迫女儿小满嫁人，自己迎娶情人姜婵，此前他还打死了母女俩救下的小黑蛇。婚后诡异频发：林更生得怪病日渐严重，姜婵被黑蛇附身怀上蛇胎，吸食他的阳气。小满心怀怨恨，与姜婵结盟复仇。林更生不信神婆劝诫、妄图用女儿血解毒，泯灭人性。最终，小满与姜婵将他引至后山蛇窟，林更生被蛇群吞噬，小满摆脱噩梦，姜婵回归山林。

大昱朝中，册立储君一事迫在眉睫。朝堂势分两派，吵得如火如荼，三皇子君凌川运筹帷幄，深得帝心，成功登上太子之位，而丞相云昊天之女云芊羽也被赐婚为太子妃，卷入朝堂权力之争。云芊羽不甘成为政治联姻的牺牲品，面对强权选择反抗逃跑，却意外邂逅微服出巡民间的太子君凌川。缘定初见，纠缠一生。二人历经生死，患难与共，越来越多不为人知的真相被解开，而他们也将自己置身于危险之中。 面对至亲与挚爱，云芊羽该如何选择…… 而夹在爱人与江山之间的君凌川又能否寻得两全之法……

当双面派太子君凌川遇上傲娇千金云芊羽，川云cp从相识到相知，欢喜冤家有哪些趣事甜事？又有哪些爱恨情仇？

三年前，宋嘉怡在金钱的诱惑下，做出了一个让她后悔终身的决定，她背叛了深爱着她的陈志熙，亲手为他戴上了一顶绿色的帽子。时光如梭，三年后，陈志熙已经成为南城的第一豪门，权势滔天。他不仅要迎娶宋嘉怡的闺蜜，更要在情感上重新占有宋嘉怡。宋嘉怡为了筹集母亲的医药费，不幸被闺蜜设计陷害，让陈志熙在床上抓到了所谓的“奸情”。陈志熙心碎欲绝，选择了离开，继承家族事业，远赴他乡。三年后，他带着荣耀归来，心中却依旧对宋嘉怡念念不忘，他想要利用女配来刺激宋嘉怡，让她也尝尝被背...

孟军投入了一年的时间筹划制作《Talk》，中文名《聊天》，引起巨大反响，一举囊括了韩国PISAF2001国际动画节最佳音乐奖和中国首届独立映像展最佳剧情短片奖两项大奖。 　　《聊天》，孟军采用散文式的结构，试图表达20世纪60年代至70年代出生的中国人对少年时光的符号化的缅怀。片中运用大量的运动镜头，构成以幻觉出现的故事结构。少男对少女的暗恋与其说是故事的内容不如说是回忆中少年时光与少年情怀的标记物，女孩的面容始终没有正面出现，正显示了本片对符号化记忆的清醒。“Talk”一名的来历，据孟军说，它是聊天的产物，同时也是用动画的形式聊聊天。

孟军投入了一年的时间筹划制作《Talk》，中文名《聊天》，引起巨大反响，一举囊括了韩国PISAF2001国际动画节最佳音乐奖和中国首届独立映像展最佳剧情短片奖两项大奖。 　　《聊天》，孟军采用散文式的结构，试图表达20世纪60年代至70年代出生的中国人对少年时光的符号化的缅怀。片中运用大量的运动镜头，构成以幻觉出现的故事结构。少男对少女的暗恋与其说是故事的内容不如说是回忆中少年时光与少年情怀的标记物，女孩的面容始终没有正面出现，正显示了本片对符号化记忆的清醒。“Talk”一名的来历，据孟军说，它是聊天的产物，同时也是用动画的形式聊聊天。

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.