The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间.....

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 　　取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。

朱一龙在学校里拍的一部小短剧，在里面饰演一对双胞胎隋昕和隋意，剧情大概是：隋昕认了女主卓小布当妹妹，女主慢慢喜欢上了他，但他有喜欢的人。隋意和隋昕是双胞胎，隋意在追女主好友并且追到了，女主误以为那是隋昕，所以心情不好后来看到他俩一起逛街之后就手机关机呆在家里。有一天隋昕打电话问女主周末校医院开吗，回答说不开，女主要陪他被拒。结尾，女主打开手机，发现里面都是隋昕的晚安消息。误会并不可怕，可怕的是偶然的放弃。

朱一龙在学校里拍的一部小短剧，在里面饰演一对双胞胎隋昕和隋意，剧情大概是：隋昕认了女主卓小布当妹妹，女主慢慢喜欢上了他，但他有喜欢的人。隋意和隋昕是双胞胎，隋意在追女主好友并且追到了，女主误以为那是隋昕，所以心情不好后来看到他俩一起逛街之后就手机关机呆在家里。有一天隋昕打电话问女主周末校医院开吗，回答说不开，女主要陪他被拒。结尾，女主打开手机，发现里面都是隋昕的晚安消息。误会并不可怕，可怕的是偶然的放弃。