上海人口有一千六百万，并且以每年一百万的速度在增长。“增长”对于这个中国最现代化的大城市来说是关键词。上海是全世界投资者和建筑师的天堂。这些年建造的高楼大厦数量超过2000幢之多，改变了这个城市的面貌。在这期间有很多老式住宅区也消失了，同时带走了中国传统的生活文化。 　　这部影片展示了这个城市的现代化和商业化，也展示了在这股建筑热潮中至今仍生活在他们旧居的百姓的日常生活。

这是一个布加勒斯特历史，他看到灯型的极权主义的架构，我们在那些谁知道，权力是在建筑方面表示期待。 Ceausescu Nicolae a distrus Romania.尼古拉齐奥塞斯库的罗马尼亚销毁。 In locul vechilor orase, a memoriei incastrate in zidurile monumentale, arhitectura de tip stalinist, de inspiratie Nord Coreeana, a erupt ca o plaga amenintand sa umileasca tot si sa demonstreze Puterea regimului.而不是在斯大林的纪念性建筑灵感的墙壁嵌入式记忆体的旧城镇，爆发像瘟疫的威胁侮辱和展示所有电源系统。

THE VELVET UNDERGROUND AND NICO (1966) 　　64 minutes, 16mm, black and white 　　Original English Version 　　Director: Andy Warhol 　　Producer: Andy Warhol 　　Cinematography: Paul Morrissey 　　Cameraman: Andy Warhol 　　Music: The Velvet Underground & Nico 　　Cast: The Velvet Underground & Nico (Lou Reed, guitar; John Cale, viola and bass guitar; Sterling Morrison, guitar and bass guitar; Nico, maracas, tambourine); Ari Boulogne, Gerard Malanga, Billy Name, Stephen Shore, Andy Warhol, New York police agents

四只小猫Fib、Precious、Suds、Ruffles被驱逐出猫咪王国，陷入黑暗神秘的世界。他们必须勇敢面对无数危险，学会合作，寻找能带他们回家的宝藏。动画受到角色扮演游戏、桌面宠物、《指环王》、《霍比特人》和法国儿童读物《Okilélé》等启发，还将推出同名桌游。

高大帅气的体育生朴载炫因为不交诗歌作业而被老师留堂。两人在校外开始文学创作的私人课程，足迹踏遍首尔的大小风景。期末考试时载炫将一首情诗作为作业提交，让老师不禁浮想联翩，随后却被现实的冷水当头淋下。痛定思痛的他决定斩断情丝，结果反被学生一吻定情...

高大帅气的体育生朴载炫因为不交诗歌作业而被老师留堂。两人在校外开始文学创作的私人课程，足迹踏遍首尔的大小风景。期末考试时载炫将一首情诗作为作业提交，让老师不禁浮想联翩，随后却被现实的冷水当头淋下。痛定思痛的他决定斩断情丝，结果反被学生一吻定情...

菲利普（Peter Elbling 饰）是一个非常普通的15岁少年，和很多这个年纪的男孩子一样，菲利普对性有着朦朦胧胧的启蒙和格外强烈的好奇心。父亲工作繁忙无暇照顾菲利普，因此请来了一位名叫妮可尔（西尔维娅·克里斯蒂 Sylvia Kristel 饰）的保姆来代替自己照顾孩子。30岁的妮可尔身上兼具成熟女人的风韵和年轻女性的天真，她的存在让菲利普的内心时时刻刻都收到欲望的煎熬。 　　菲利普家里的司机看出了菲利普对妮可尔的渴望，于是决定利用这一点来为自己谋得一笔外快。司机委托妮可尔勾引菲利普，再制造了她死亡的假象，司机的阴谋诡计是否会得逞呢？

菲利普（Peter Elbling 饰）是一个非常普通的15岁少年，和很多这个年纪的男孩子一样，菲利普对性有着朦朦胧胧的启蒙和格外强烈的好奇心。父亲工作繁忙无暇照顾菲利普，因此请来了一位名叫妮可尔（西尔维娅·克里斯蒂 Sylvia Kristel 饰）的保姆来代替自己照顾孩子。30岁的妮可尔身上兼具成熟女人的风韵和年轻女性的天真，她的存在让菲利普的内心时时刻刻都收到欲望的煎熬。 　　菲利普家里的司机看出了菲利普对妮可尔的渴望，于是决定利用这一点来为自己谋得一笔外快。司机委托妮可尔勾引菲利普，再制造了她死亡的假象，司机的阴谋诡计是否会得逞呢？

The performance was accompanied by the manifesto of the Theatre of Death. Kantor stated the idea of his theatre, where the idea of LIFE can only be reclaimed in play by LACK OF LIFE. As participants in the séance he invited Witkacy, Schulz and Gombrowicz. The stage of play has been demarcated by cones and ropes. In the closed space the process of recalling the past takes place. Space is filled by rows of school desks were Old Men sit. Each one is accompanied by a mannequin of childhood. Kantor, present on stage, decides the rhythm of coming to life and dying of the class. The Old Man are inflicted with aphasia and amnesia, can only remember fragments of old knowledge. They make faces and make phonetic blunders. They pick up and abandon roles from Witkacy’s play. In a somnambulist parade they leave and come back to the space of play. They call up and dismiss memories. Pedel stands up and launches into Austrian-Hungarian anthem, then sits back down. An Old Man in the toilet stays there for a suspiciously long time. The Old Man with a bike goes on nightly rambles. Sleepwalking Prostitute bares her breast. The hourglass delivery man reminds everyone of Past Perfect. A Woman behind the window shows the line between like and death. The lesson turns into moaning – waiting for the tragic fate of the Jews. It’s amplified by a piercing lullaby, sang by the Woman with a Mechanical Cradle. The Death figure is embodied by the Cleaning Lady, who cleans the mess left behind by life. The last scene is a dance of automatons, showcasing the impossibility of return to the old world.