野风筝/狂/被冻住了呀，那天的海/无债之人/骑你的马/艮止

杀死艾达/董兰城乡往返记/重庆草原/你好，马莉莉/热土

落水命/危笑之夜/面具/定城砖/独唱团

马尼·考尔在《抵达》（Arrival）中呈现了一幅深刻的画卷。人们、妇女、水果、花卉、蔬菜、山羊和绵羊纷纷涌入城市，它们都成了待被消耗的对象。影片的核心便是这种消耗与剥削的过程。通过一系列由迷人配乐串联起来的画面，我们看到了城市生活中的残酷与人性的泯灭。或许……最精彩的部分还在后面。

Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

20世纪90年代，小龙 （李现饰）、方圆、三皮和大四在职高学校里虚度着大把青春。小龙和方圆同时爱上了美丽的女孩冬冬 （顾璇饰）。四人偷轮船汽油卖钱的事败露被寻仇上门，冬冬也因此神秘失踪，几人从此分道扬镳。时隔多年，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出当年冬冬“失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心 。

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？

歐德禮是誰？他是皇都戲院前身璇宮戲院的創辦人，亦是叱吒一時的娛樂大亨。這位參與過香港保衛戰的俄裔猶太人，不只辦戲院，還引入國際知名音樂家來港演出，承辦大會堂開幕演奏會，堪稱「香港文化史前人物」。本着自己歷史自己寫的精神，祁凱達與徐岱靈追尋這段香港傳奇，由爭取保育皇都戲院開始，請來潘迪華和梁款等細說歐德禮的貢獻，尋找其後人更尋到張敬軒家中，上山下海發掘珍貴資料，活現那個曾經兼容並包、文化交融，如初戀般令人心動的香港。