高中女生優奈（黒川智花饰）是学校里的焦点人物，青春可人又聪明灵巧的她既深受师长的优评，也是诸男生倾慕的对象。 　　谁都没有发现優奈的秘密——那是她和同班同学恭史（水嶋ヒロ饰）的秘密，两人在教室里好像是陌生人，却在校外分别扮演对方的“公主”和“臣下”，公主的地位至高无上，公主的命令臣下绝对服从。于是，恭史开始扮演臣下的角色：接優奈放学，倾听優奈的烦恼与憧憬，甚至在優奈约会时也陪同保护着…… 　　“只要不被第三人发觉，游戏就永远继续下去。”这是这个从8年前就开始的游戏的规则，某日，他们的这层关系意外地被同班同学水野（濱田岳饰）发现了，面对质疑，恭史开始重新思考这段关系的实质所在。

高中女生優奈（黒川智花饰）是学校里的焦点人物，青春可人又聪明灵巧的她既深受师长的优评，也是诸男生倾慕的对象。 　　谁都没有发现優奈的秘密——那是她和同班同学恭史（水嶋ヒロ饰）的秘密，两人在教室里好像是陌生人，却在校外分别扮演对方的“公主”和“臣下”，公主的地位至高无上，公主的命令臣下绝对服从。于是，恭史开始扮演臣下的角色：接優奈放学，倾听優奈的烦恼与憧憬，甚至在優奈约会时也陪同保护着…… 　　“只要不被第三人发觉，游戏就永远继续下去。”这是这个从8年前就开始的游戏的规则，某日，他们的这层关系意外地被同班同学水野（濱田岳饰）发现了，面对质疑，恭史开始重新思考这段关系的实质所在。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

二十五年前，魔教罗刹魂殿大举入侵云州，一时间掀起腥风血雨，其中林家，唐家，陈家，高家，四大家族成为为重点攻击对象损失惨重，随后四大家族在生死存亡下，经过商议向天下会寻求帮助。天下会会长南宫乘风收到求助消息，立即率领天下会出山迎击罗刹魂殿，连番激战之后，罗刹魂殿被成功击退，自此销声匿迹。经此一役，南宫乘风深感力不从心决定退隐龙云山不再过问俗事。 南宫乘风在前往龙云山途中捡到一男婴，确定没有父母前来认领，便将男婴带往龙云山收为关门弟子，并给男婴取名为林梵。

阿公過世了，印尼籍看護莎莉看著阿嬤跟四叔公操辦台灣葬禮。 在沒有人回來奔喪的情況下莎莉被逼著成為喪禮的「親族」⋯⋯

阿公過世了，印尼籍看護莎莉看著阿嬤跟四叔公操辦台灣葬禮。 在沒有人回來奔喪的情況下莎莉被逼著成為喪禮的「親族」⋯⋯