《一介书生》是依据魏书生的真人真事写作拍摄的。 　　这部篇幅并不很长的连续剧,用朴实、平和的叙述语言讲述一个有真实原型的教师的往事。主人公魏书生年轻时就想当教师，在”文革“那动乱的年代，他到农村插队，仍然坚持读书，相信读书没有错。看乡下小孩没有条件读书，他振作起来，不向外界求援，承担起教书育人的重任。由乡下返城，他看到学校里一天到晚乱哄哄地搞斗批改，已经不是学习的地方，心里一片荒凉。当他在乡下教过的学生小刚问他”县中学咋这么乱“里，他无言以对。这时候在工厂里作工的他，甚至不知道自己是什么人和自己能干什么，但他懂得必须去尝试。他甚至不想上大学，他只有一个越来越强烈的愿望：教书。作教师，在十年内乱的特定情势底下，当然不是一个轻松的选择。然而正是这种选择才使他坚定了走向尝试之途的决心。一封封申请书石沉大海，绝望不曾使他泄气和沮丧，反而增强了他的执著、勇气与信心。无数次的书面加口头申请，终于使他如愿以偿。这之中，执著的生命意识获得了前所未有的凸现。人们可以感到平凡人生所蕴含的强烈的精神力量。

《一介书生》是依据魏书生的真人真事写作拍摄的。 　　这部篇幅并不很长的连续剧,用朴实、平和的叙述语言讲述一个有真实原型的教师的往事。主人公魏书生年轻时就想当教师，在”文革“那动乱的年代，他到农村插队，仍然坚持读书，相信读书没有错。看乡下小孩没有条件读书，他振作起来，不向外界求援，承担起教书育人的重任。由乡下返城，他看到学校里一天到晚乱哄哄地搞斗批改，已经不是学习的地方，心里一片荒凉。当他在乡下教过的学生小刚问他”县中学咋这么乱“里，他无言以对。这时候在工厂里作工的他，甚至不知道自己是什么人和自己能干什么，但他懂得必须去尝试。他甚至不想上大学，他只有一个越来越强烈的愿望：教书。作教师，在十年内乱的特定情势底下，当然不是一个轻松的选择。然而正是这种选择才使他坚定了走向尝试之途的决心。一封封申请书石沉大海，绝望不曾使他泄气和沮丧，反而增强了他的执著、勇气与信心。无数次的书面加口头申请，终于使他如愿以偿。这之中，执著的生命意识获得了前所未有的凸现。人们可以感到平凡人生所蕴含的强烈的精神力量。

Chroma 11 is an immersive experience based on the true story of lost love, that expands the boundaries of moving images with VR technology. Through clips of rearranged memories and volumetric video, the creative team reconstructs the parted souls in the form of a duo dance after life. 　　源自：https://www.ji-hlava.com/filmy/chroma-11

李寻道意外穿越到玄幻世界，成为了万道仙宗老祖。身为凡人，无法修炼的他，只能寸步不离地呆在万道宫中，以免身份暴露。然而，本以为可以一直苟着的他，却不想被澹台圣地圣女打上门来，还点名道姓要他负责，于是，他一个凡人，卷进了圣人神仙大战之中。

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。

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。

A German police state of the past is the setting for the pulsating short film thriller Es gibt keine Angst (Afraid Doesn’t Exist). In it, Anna Zett collages video and audio material from the Berlin Archive of the GDR Opposition, partially taking the perspective of a sensitive child. Based on her own intimate involvement, the artist traces a successful, yet mostly unknown act of resistance at the very end of the GDR, while at the same time opening up an associative space for connecting with experiences of violence that are otherwise difficult to access today. Vocally highly condensed voices from a 1986 East Berlin poetry reading support the voiceless narrator – “an adult child” – in the reconstruction of her own emotional world, as does the multi-layered musical score. From footage of the environmental library to private videos and journalistic material, the film leads to the second occupation of the Stasi headquarters in Berlin-Lichtenberg in September 1990, where it settles into a very different mood. 　　源自：https://www.berlinale.de/en/2023/programme/202312726.html

A German police state of the past is the setting for the pulsating short film thriller Es gibt keine Angst (Afraid Doesn’t Exist). In it, Anna Zett collages video and audio material from the Berlin Archive of the GDR Opposition, partially taking the perspective of a sensitive child. Based on her own intimate involvement, the artist traces a successful, yet mostly unknown act of resistance at the very end of the GDR, while at the same time opening up an associative space for connecting with experiences of violence that are otherwise difficult to access today. Vocally highly condensed voices from a 1986 East Berlin poetry reading support the voiceless narrator – “an adult child” – in the reconstruction of her own emotional world, as does the multi-layered musical score. From footage of the environmental library to private videos and journalistic material, the film leads to the second occupation of the Stasi headquarters in Berlin-Lichtenberg in September 1990, where it settles into a very different mood. 　　源自：https://www.berlinale.de/en/2023/programme/202312726.html