我尝试用生物显微镜的方法观察面前的城市。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other. (source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

Both an homage and a new look to the old style anthology films. Five different films, five different styles.

父亲弄丢宠物狗乐乐之后，女儿在原本用来监看乐乐的监控里，切片式地参与了父母的生活。

刚踏入新居的妻子徐曼怀孕了，这让她本就不适的婚后生活更加难以自如，对生育的恐慌与丈夫的不理解也形成了难以调和的冲突。徐曼决定不要孩子，并对突然到访的婆婆保守秘密。

青春期的小美长时间遭受家庭暴力，心理受到极大创伤，看似每天平静的生活，父女二人却各自心怀秘密。为了引起父亲的注意，小美决定偷走他的秘密…...

方寸池塘的一滴水珠中，暗藏着微观又恢弘的别样天地。水珠翻涌、碎裂之间，这个迷你世界里不断上演着诞生、消亡、情爱与追逐等生命百态。影片以极具实验性的多元材质置换定格与二维动画设计，展现出水下的奇幻秘境。

人文篇《留忆太仓》分为城市时光、岁月记忆、田园意蕴三个段落，一个个镜头串联起“锦绣江南金太仓”的历史与文化脉络，凸显出“江海田园，静秀之城”的篇章主题； 经济篇《活力太仓》的主题是“梦想热土，活力太仓”，分为城市动脉、黄金口岸、经济引擎、创智家园四个段落，通过文字、数据与实景有机结合的画面，全面展现了太仓的经济活力与城市魅力。

影片通过六个章节来描述这个在1943年几乎遭到纳粹完全歼灭的塞萨洛尼基犹太群体的生活状态，以及他们所受到的威胁。过去和现在的交替构成了一个宽大的回音室，身处其间的观众将会体验到那令人惊骇的疯狂人性。