在一所影视类高校里，发生在两个宿舍，八个年轻人身上的故事。反映了当代大学生，离开父母怀抱，独立面对社会，面对成长，面对每一个崭新的人生课题时，…

焊工于鱼独居在南方的一座小镇，常在深夜结束工作。某晚，他在路边救助了一名因摩托车事故受伤的女孩。这次相遇点燃了他内心对爱情的渴望，但长期的孤独让他的身体与灵魂都陷入混乱，使他在女孩面前变得迟疑而缄默。女孩如一场短暂的梦般闯入又离开他的生活，留下的只有游离不定的迷茫，他仿佛被困在无法前行的虚无之中。

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《青春同学会》是一档大型体验型励志真人秀节目。将由三大表演院校表演系班主任集结六大明星班级，邀请明星大咖分别寻找班上未成名的老同学，并共同完成节目组的命题挑战，一起来完成一场高难度戏剧大戏的公演。

本部充满黑色幽默元素的动画短片，无处不带给你意外的“小惊喜”。驯兽师的皮鞭下换成了温顺的兔子，而魔术师的礼帽里居然钻出了狮子；伐木的工人手中的锯子与小提琴演奏者的琴弦互换；救生圈换成了捕鼠器；潜水员与消防员职责对调；年迈的老奶奶居然被误当成了垃圾……每一个小段落中，导演总是用两样看似毫无联系的东西作比，意料之外又情理之中。在错误的时间，错误的地点，发生了错误的互换该是件多么错误的事情。所以有些事，你最好别搞混。 　　这部由荷兰动画导演Joost Lieuwma制作的动画短片，是他当年的大学毕业作品。阴差阳错中的窘态百出和天马行空下的乾坤大挪移，都使得本片既无厘头又趣味十足。

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.