实验影像《在山与山之间》以“影”作为叙事核心，反向探索、描绘我们所在的日常世界，反思光与影，自我与世界的关系。“影”成为自我意识可以以运动和无形的方式介入“人-世界“之间的罅隙，流动着勾连无与有、虚无与存在并形成除二之外的第三项。人们总觉得影子依附于光，但当日食出现，万物黑暗间涌动，人们以为影随光一同消失，却忘了万物其实都笼罩在巨大的影子里，影子不需要任何依附，有自己的生命。

实验影像《在山与山之间》以“影”作为叙事核心，反向探索、描绘我们所在的日常世界，反思光与影，自我与世界的关系。“影”成为自我意识可以以运动和无形的方式介入“人-世界“之间的罅隙，流动着勾连无与有、虚无与存在并形成除二之外的第三项。人们总觉得影子依附于光，但当日食出现，万物黑暗间涌动，人们以为影随光一同消失，却忘了万物其实都笼罩在巨大的影子里，影子不需要任何依附，有自己的生命。

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. And it is of love that this film speaks above all, a total and solar love in which family and friends are seized in the same poetic field. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became in 1968 a meeting place for the underground community. Pierre Clémenti stays there for a while and makes images of dazzling sensuality. Beyond Pierre Clémenti's intimate love of these faces and bodies often naked in this Mediterranean landscape, the film reveals the moving beauty of a utopia where living together could still be achieved in a territory of sharing and permanent creation. Flow of perceptions of consciousness, visual impressions, physical impregnations, the work of Pierre Clémenti is an ode to sensuality and "life-cinema". For Clémenti, the main purpose of creation was to shake up the usual order of things by rubbing against the unknown. The act of creating would be "to be a virgin before the new, to do everything that one does as for the first time". If Pierre Clémenti has never sounded his films-notebook life, it is because he has often preferred to confront the reality of live sound during his projections. Pierre Clémenti liked to share his works with his musical friends, to make projections of his films moments of life: they were often accompanied by sound performances.

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. And it is of love that this film speaks above all, a total and solar love in which family and friends are seized in the same poetic field. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became in 1968 a meeting place for the underground community. Pierre Clémenti stays there for a while and makes images of dazzling sensuality. Beyond Pierre Clémenti's intimate love of these faces and bodies often naked in this Mediterranean landscape, the film reveals the moving beauty of a utopia where living together could still be achieved in a territory of sharing and permanent creation. Flow of perceptions of consciousness, visual impressions, physical impregnations, the work of Pierre Clémenti is an ode to sensuality and "life-cinema". For Clémenti, the main purpose of creation was to shake up the usual order of things by rubbing against the unknown. The act of creating would be "to be a virgin before the new, to do everything that one does as for the first time". If Pierre Clémenti has never sounded his films-notebook life, it is because he has often preferred to confront the reality of live sound during his projections. Pierre Clémenti liked to share his works with his musical friends, to make projections of his films moments of life: they were often accompanied by sound performances.

Okgyun never fit the narrative spun by adoption agencies; she was a married mother of three. After being pressured to relinquish her fourth child, Mieke, was adopted to the Netherlands. In present day, Mieke visits her family in Seoul to celebrate her recent marriage. Between Goodbyes is an intimate portrait of one family’s enduring grief and love.

Okgyun never fit the narrative spun by adoption agencies; she was a married mother of three. After being pressured to relinquish her fourth child, Mieke, was adopted to the Netherlands. In present day, Mieke visits her family in Seoul to celebrate her recent marriage. Between Goodbyes is an intimate portrait of one family’s enduring grief and love.

从具体的物，到庞大的山体，再到更为抽象的像素，光影；从视觉的清晰到模糊，从不变见万变。《在物之间》试图在物与物之间建立一种抽象且富有弹性的连接，为观者提供一种非语言性的感官体验。如Mei-mei Berssenbrugge写到”正因为不知道事物之间的联系，才有可能到达超出这个连接本身的理解。“ 　　在语言甚至经验之外，我们该如何去理解？是《在物之间》要讨论的问题。

很想隱藏過去的海秀，搬到新的城市重頭開始，經營咖啡店，更請來高中生藝珍當兼職，命運令兩人走在一起，她們的友誼更為海秀的生活帶來新火花。然而，兩人內心都埋藏著秘密，不想輕易向人透露。跨性別與女同志的邂逅，譜出淡淡的感動情緣，以不煽情的方式，訴說一個關於接納自己和容納他人的故事。

很想隱藏過去的海秀，搬到新的城市重頭開始，經營咖啡店，更請來高中生藝珍當兼職，命運令兩人走在一起，她們的友誼更為海秀的生活帶來新火花。然而，兩人內心都埋藏著秘密，不想輕易向人透露。跨性別與女同志的邂逅，譜出淡淡的感動情緣，以不煽情的方式，訴說一個關於接納自己和容納他人的故事。