本片是由《一笼傻鸟》的原班人马拍摄的续集。影片讲述艾宾（米歇尔·塞侯 饰演）由于不满男友雷纳托说他年纪大，于是扮成女人的样子走上大街，希望证明自己魅力不减。却不想半路遇到正在逃亡的间谍，卷入了一场国际间谍战……

本片是由《一笼傻鸟》的原班人马拍摄的续集。影片讲述艾宾（米歇尔·塞侯 饰演）由于不满男友雷纳托说他年纪大，于是扮成女人的样子走上大街，希望证明自己魅力不减。却不想半路遇到正在逃亡的间谍，卷入了一场国际间谍战……

《机器鸡》是一部对流行文化进行戏拟和恶搞的定格动画，片名源于制片人常去吃的一家中餐馆。 　　《机器鸡》在2006和2007年连续荣获艾美奖，今年亦再次获得提名。 　　本集是《星球大战》特辑，“星战之父”乔治卢卡斯本人亲自参与了配音。 　　熟悉的人物，另类的视角，搞笑的对白，欢迎品尝风味独特的《机器鸡之星球大战特辑》！

在《封神第二部：战火西岐》中，西岐面临殷商的强大侵袭，姜子牙与姬发领军抵抗。邓婵玉、闻仲等商军力图征服，而西岐方则有殷郊、雷震子、杨戬、哪吒等英雄加盟，共同投入这场保卫家园的战斗。随着战争的升级，双方展开了一系列激烈的对决，法术与勇气交织，展现了一幕幕令人心潮澎湃的战场景象，同时，围绕封神榜的争夺愈发激烈，命运的齿轮在转动。

Although it appears to be more naturalistic than THE HUMAN PYRAMID, the PORTRAIT DE MICHEL SIMON PAR JEAN RENOIR OU PORTRAIT DE JEAN RENOIR PAR MICHEL SIMON OU LA DIRECTION D'ACTEURS: DIALOGUE episode of JEAN RENOIR LE PATRON makes similarly sophisticated use of audiovisual montage to activate the different resonances of the footage, creating a portrait whose deceptively complex form mirrors that of its subject. Large portions of the film depict director Jean Renoir and his former actor Michel Simon talking about various matters in real time on a particular day. The roving camera generally stays close to them, but it also moves around the table at various points, capturing interviewer-director Rivette, some of the camera equipment, and other people present in the same space. While the earthy conversation of Renoir and Simon is engrossing, the viewer is never allowed to forget that this seemingly casual encounter between friends is mediated by the director and crew, and the final film includes shots of clapboards, of someone putting a hand over the camera lens, and even of a blank screen as the camera battery is reloaded. Even more pronounced intervention occurs as sequences from films Renoir and Simon made together are inserted at unexpected moments. There are no clear transitions separating these excerpts from the main body of the film, and the sound from the conversation continues over (or at least bleeds into) the clips, creating a dialogue between remembered, lived, and represented experiences, which become increasingly intertwined as the film progresses. 　　—— Richard I. Suchenski, "Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film"

Although it appears to be more naturalistic than THE HUMAN PYRAMID, the PORTRAIT DE MICHEL SIMON PAR JEAN RENOIR OU PORTRAIT DE JEAN RENOIR PAR MICHEL SIMON OU LA DIRECTION D'ACTEURS: DIALOGUE episode of JEAN RENOIR LE PATRON makes similarly sophisticated use of audiovisual montage to activate the different resonances of the footage, creating a portrait whose deceptively complex form mirrors that of its subject. Large portions of the film depict director Jean Renoir and his former actor Michel Simon talking about various matters in real time on a particular day. The roving camera generally stays close to them, but it also moves around the table at various points, capturing interviewer-director Rivette, some of the camera equipment, and other people present in the same space. While the earthy conversation of Renoir and Simon is engrossing, the viewer is never allowed to forget that this seemingly casual encounter between friends is mediated by the director and crew, and the final film includes shots of clapboards, of someone putting a hand over the camera lens, and even of a blank screen as the camera battery is reloaded. Even more pronounced intervention occurs as sequences from films Renoir and Simon made together are inserted at unexpected moments. There are no clear transitions separating these excerpts from the main body of the film, and the sound from the conversation continues over (or at least bleeds into) the clips, creating a dialogue between remembered, lived, and represented experiences, which become increasingly intertwined as the film progresses. 　　—— Richard I. Suchenski, "Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film"

陳界仁的〈凌遲考〉以冷靜而壯烈的方式，控訴台灣長期以來遭受西方各種「殖民」形式的歷程。〈凌遲考〉的影像彷彿集體記憶中的夢的影像，潛藏於觀者的「集體潛意識」，挑戰觀者的回應與記憶。〈凌遲考〉用緩慢而詩意的速度以三個銀幕放映，將歷史和台灣當代社會連結起來。〈凌遲考〉的影像是介於瘋狂、極度痛苦與彷如聖靈充滿的狂喜的曖昧混合。雖然影像來自一幅當初很少人知曉的歷史文件，在「凌遲刑罰」早已被禁止，在人間消失的二十一世紀初，對這樣的凌遲刑罰過程的觀看經驗也彷彿觀看地獄圖像的經驗。而刻意放緩進行的影像由於背負龐雜交叉的歷史與意涵（殖民的、歷史的、影像史的、影像本質的、刑罰的、觀看、暴力美學等等），使觀者不得不進行凝視──凝視歷史，也凝視自己。藝術家希望以獨特的方式，例如緩慢進行的手法與調子，引起觀者的深刻凝視；針對「凌遲」的刑罰形式，重新加以凝視與再現，並將其擴大演繹為一道隱喻，影射全球化意圖下的第一世界霸權之於弱勢者的權力關係。