在美国，超过1/3女性曾遭受性伤害，其中80%经历过创伤症候群。某日，美国南方，黑人女孩雷内莎在聚会后被性侵。当她决定开口向外求助，却发现自己无力地迷失在庞杂的医疗行政与司法系统之中。原本甜蜜稳定的恋爱关系，彷佛受到考验。本片以极其真实的镜头语言，重现许多女性曾被伤害的经历，反映过程中，女性经受的心理恐惧与无可言说的茫然感。缜密安排的剧情，除了碰触#MeToo运动所提出的核心问题外，更延伸讨论两性关系、父权体制、不健全的医疗制度，以及美国长久以来的种族问题。在导演精准的叙事表层下，埋藏着一颗颗后劲无穷的震撼弹。

在美国，超过1/3女性曾遭受性伤害，其中80%经历过创伤症候群。某日，美国南方，黑人女孩雷内莎在聚会后被性侵。当她决定开口向外求助，却发现自己无力地迷失在庞杂的医疗行政与司法系统之中。原本甜蜜稳定的恋爱关系，彷佛受到考验。本片以极其真实的镜头语言，重现许多女性曾被伤害的经历，反映过程中，女性经受的心理恐惧与无可言说的茫然感。缜密安排的剧情，除了碰触#MeToo运动所提出的核心问题外，更延伸讨论两性关系、父权体制、不健全的医疗制度，以及美国长久以来的种族问题。在导演精准的叙事表层下，埋藏着一颗颗后劲无穷的震撼弹。

在美国，超过1/3女性曾遭受性伤害，其中80%经历过创伤症候群。某日，美国南方，黑人女孩雷内莎在聚会后被性侵。当她决定开口向外求助，却发现自己无力地迷失在庞杂的医疗行政与司法系统之中。原本甜蜜稳定的恋爱关系，彷佛受到考验。本片以极其真实的镜头语言，重现许多女性曾被伤害的经历，反映过程中，女性经受的心理恐惧与无可言说的茫然感。缜密安排的剧情，除了碰触#MeToo运动所提出的核心问题外，更延伸讨论两性关系、父权体制、不健全的医疗制度，以及美国长久以来的种族问题。在导演精准的叙事表层下，埋藏着一颗颗后劲无穷的震撼弹。

阿富汗2014。当部队即将撤离时，Antarès Bonassieu上尉和他的部队被指派在巴基斯坦边境的Wakhan偏远山谷执行控制和监视任务。尽管他们下定决心，但安塔利斯和他的手下逐渐失去了对本应平静的地区的控制。九月的一个晚上，山谷里的士兵神秘地消失了。

In 1964 author Samuel Beckett set out on one of the strangest ventures in cinematic history: his embattled collaboration with silent era genius Buster Keaton on the production of a short, titleless avant-garde film. Beckett was nearing the peak of his fame, which would culminate in his receiving a Nobel Prize five years later. Keaton, in his waning years, never lived to see Beckett’s canonization. The film they made along with director Alan Schneider, renegade publisher Barney Rosset, and Academy Award-winning cinematographer Boris Kaufman, has been the subject of praise, condemnation, and controversy for decades. Yet the eclectic participants are just one part of a story that stretches to the very birth of cinema, and spreads out to our understanding of human consciousness itself. 　　NOTFILM is a feature-length experimental essay on FILM’s production and its philosophical implications, utilizing additional outtakes, never before heard audio recordings of the production meetings, and other rare archival elements.

4.3 사건으로 상처 입은 제주도와 제주사람들... 　　그리고 지금 아프게 부서져 가는 강정마을의 이야기 　　제주시 애월읍 납읍에 살고 계신 강상희 할머니, 할머니의 남편 김봉수는 4.3으로 희생되었다. 해군기지 문제로 떠들썩한 서귀포시 강정마을. ‘4.3의 원혼이 통곡한다’ 와 같은 수많은 현수막이 제주 4.3과 해군기지 문제가 다르지 않음을 말한다. 카메라는 유령처럼 제주도 납읍리, 가시리, 강정마을, 일본 오사카 등을 돌며 그 흔적과 균열들을 드러내기 시작하고 다시 강상희 할머니가 혼자 살고 있는 집 앞마당으로 돌아온다. 언제부터인지 알 수 없지만 잠자리 밑에 녹슨 톱을 두고 살아온 할머니의 삶... 가늠할 수 없는 깊은 슬픔을 짊어진 제주도와 제주사람들의 삶에서 녹슨 톱은 언제쯤 치워질 수 있을까. 　　Focusing on Mrs. Kang sang-hee's life, she lost her husband in Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Is land, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.

A man, Vince, wakes up in the middle of a film shoot. He doesn't know what's going on or why he's there, but crew members tell him he's one of the actors in the film so he decides to just play along. During the shooting of one scene, one of the other actors, 122, accidentally kills most of the crew. Vince, 122 and the remaining crew decide to finish the film by themselves, even though there's no script, no sound equipment (they decide to make it a silent film) and no camera (they then decide to also make it a "blind" film). 　　Like his music, this first feature film of Quentin Dupieux (aka Mr. Oizo) is at the same time totally retarded and utterly brilliant. A calm yet demented piece of metafiction, examining the boundaries between film and reality in a dry, absurdly humorous way.

导演 Cheryl（张艾嘉）要拍一部关于初恋的电影，找到编剧（苏永康）讨论剧本。故事的起于一九七七年，女主角小柔（梁咏琪）十七岁，在女校读中学。浩君（金城武）十九岁，大学沒考上，在家自修。但他更喜欢弹吉他。浩君第一次遇见小柔是在一家音乐行的玻璃櫥窗边，浩君心动，撒谎而第二次见面。第三次見面是在一群玩音乐的男孩子练歌时，小柔主动和他说话。之后，两人一发不可收拾。小柔的好朋友陈莉（莫文蔚）是小柔倾诉的对象。一个夜晚，浩君和小柔只想一起共渡，穿着整齐相拥而眠。这一夜成为二人分手的起因。导演 Cheryl告诉编剧，陈莉向小柔示爱，小柔打了陈莉。多年后，二十五岁的浩君成为导游和翻译，在日本巧遇小柔，依然心动。小柔已是香港一家时装公司的采购员。当二人再走在一起，沒有任何考虑就做了当年沒有做的事。有一天，浩君回到香港，拿着戒指向小柔求婚，感情找到归宿。导演 Cheryl也在讲述的最后，找到自己真实的往事。