游戏中，网名“锄禾”的陆完完正在双枫崖休憩，原本安静的环境却一时间人满为患，原来是游戏高手“墨白之间”出现了，锄禾也前去凑热闹，却在众目睽睽下意外将墨白之间撞下悬崖。锄禾本想向他道歉，却被墨白之间五次连杀报仇，这下锄禾在游戏中“一撞成名”。 陆完完作为电影学院表演系大四待毕业生，哥哥陆广寒希望她尽快签入自家经纪公司英格，可陆完完却表示在成为演员这条路上想靠自己的实力，拒绝了哥哥的提议，她与闺蜜开四处参加剧组面试寻找机会。 游戏中锄禾被玩家挑衅，在她前言善变下二人成为朋友，并共同组队游戏闯关。同组的队友竟然还有太白三剑、墨白之间两位游戏高手，挑衅她的竟然也是游戏高手唐门少主，一群高手带着一只游戏“菜鸟”冲向游戏副本“秦川”。面对副本中超高难度的怪物，锄禾应对不暇，还好关键时刻墨白之间出手相救，取得胜利。 陆完完是演员韩京墨和顾乔北的影迷，但此刻她还不知道墨白之间就是韩京墨，而太白三剑就是顾乔北。公益篮球赛中，陆完完为两位韩京墨和顾乔北喝彩，手中水瓶却失手掉落，差点砸伤韩京墨。

《星星相吸惜》(Star Appeal)2005，90min，参展电影节: 　　入围第24届加拿大温哥华国际电影节(VIFF) 　　2005 美国加州大学伯克莱分院(UC BERKELEY) 　　2005 印尼雅加达Q国际电影节(JIFFEST) 　　2005 巴西Mix电影节(Festival Mix Brazil) 　　第6届意大利罗马Asiaticafilmmediale电影节 　　2006 意大利都灵Queerly电影节(TGLFF) 　　入围第50届英国伦敦电影节(LFF) 　　影片概述 　　ET赤条条从火星来到地球，被小博带回家中。小博的女友文文根本不相信ET是个外星人，小博的男友小剑对此也是半信半疑。只有小博对ET的身分坚信不移，对他百般呵护，倾尽全力带他见识地球景象。 　　为了转移小博对ET的注意力，文文把自己装扮成木星人。失败之後，作为报复，她向小博宣布，要与ET生养一个地球人与火星人的混血。她把ET带回住处，玩弄他，试图说服他与自己生养孩子，导致ET昏迷不醒。小博赶来抢救，无意中说出了“我爱你”，一句火星人也在使用的语句。ET听到火星语，苏醒过来。 　　一向不吃不喝、靠吸收阳光生活的ET，为了小博，亲尝了咖啡里的人生滋味。他慢慢地体味到地球人生的苦辣酸甜，爱的方式和肉体的极限。离开地球的前夕，他用地球人爱的极限方式，把火星人的爱情献给小博。ET走后不久，小博来到与ET初会的地点，找到了前往火星的道路。

幽暗的斗室地面中央，摆放着一领草席，草席上放着两张桌子。伴随着悠扬古朴的琴声，华歆和管宁两位好友自右而左走入房间。他们在各自的桌前坐定，拿起书册阅读起来。右边管宁治学认真，心无旁骛；左边的华歆则东张西望，心不在焉。他时而看看同伴，时而站起身张望门外热闹的场景。管宁见此深深叹了一口气，旋即掏出刀子将草席从中央割开，以示和华歆绝交。看到同学这一举动，华歆惭愧地低下了头…… 　　本片根据南宋人刘义庆撰写的《世说新语》中管华绝交（也作割席断交）的故事改编。

二十世纪初，婚礼摄影师佩德罗来到了荒蛮的火地岛，为当地掌权者拍摄婚礼。可他却深深迷上了年轻的准新娘，背叛了当权者所设下的规矩，并因此受到了惩罚。佩德罗无法逃离火地岛，只好被迫成为了一场针对原住民的大屠杀共犯。在他拍摄的相片中，屠杀场面被改为精心设计的摆拍，真相则被遗留在镜头之外。本片取材自真实发生在火地岛的原住民屠杀事件，导演通过虚构主角佩德罗的视角，展现出了这段历史中令人不适的灰色地带。影片荣获了威尼斯电影节地平线单元最佳导演奖及费比西奖。

White on White is the video diary that filmmaker Viera Čákanyová kept while staying at the Polish Antarctic station, where she shot her neural network-led film FREM (2019) in 2017. During her stay, the author talks with a compellingly conversant AI chat bot, driving conversations that touch on the nature of film, art, and the meaning of life, while also revealing a way of thinking which – free from a distinctly human emotionality – forces deep introspection. Footage from her ordinary, everyday life at the station contrasts with lyrical images of the Antarctic’s immaculate scenery and wildlife. Čákanyová complements this with her own probing and intelligent commentary, provoked by the loneliness of the ice-covered landscape.

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?