萨比格尼·瑞比克金斯基导演1988年制作的《Fouth Dimension》是一部极具视觉观赏性的影片，静物和人体都可以在思维空间中扭曲，特别是一对男女相拥时周围出现DNA的双螺旋结构，极富艺术感。浮动的精子、贝壳等性的象征物表现出阴阳结合的自然美好，歌颂了造物的神奇。

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

Acclaimed filmmaker Trinh T. Minh-ha ventures into the digital realm with her stunning feature, THE FOURTH DIMENSION, an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh's previous films, her film is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making. 　　THE FOURTH DIMENSION is an elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light. 　　“Trinh T. Minh-ha’s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. In THE FOURTH DIMENSION, Trinh’s lyrical narration guides us through ‘Japan’s likeness,’ the perfected framing of the sacramental familiar.” - Steve Seid

Mel seeks medical care, with a nervous Jack by her side. Hope's confusion puts Doc in a tough position. A new doctor joins the practice.

Mel seeks medical care, with a nervous Jack by her side. Hope's confusion puts Doc in a tough position. A new doctor joins the practice.

浩瀚宇宙，人类对维度的认识还很有限，在人类已知的维度之外还存在着其他高级维度世界。在质维里，暗维阵营想要侵占更多的维度空间扩大领地，而光维则守护着其他维度与他们战斗着。 在他们最后的战场地球上，光维将自己和暗维一起降维成平面。两个阵营的维灵也留在了地球。 只有少数拥有解封维度力量的人类，可以将维灵从平面变回立体。他们被称之为“维将”。

男孩J的少年时代几乎在变装酒吧里度过，因为缺乏父爱，长期帮表演者梳妆理发，想成为变装皇后的憧憬也愈加强烈。男孩终于站上舞台的一刻，15年未见的拳击手父亲A却从人群中冲出，狠揍了他一顿。父子间从未平复的伤口和悔恨是否能为两人的生命带来和解呢？