讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

吴昊昊采访自己电影学院各个系的同学，对自己的电影学院进行批判。 　　Haohao Wu interviewed some of the classmates in the film academy and criticized the film academy.

爱摄影，走到哪儿都要带着相机的爸爸；爱臭美，喜欢鼓捣手工护肤品的妈妈；爱撒娇，除了睡觉就是粘人的金毛小公举，一个温暖快乐的三口之家，通过影像记录下日常的手作点滴，取天然花草、原味香料和各种有机食材，经过质朴而简单有趣的手工，作出全家人养护肌肤、疗愈身心的日常用品。一段段抽离忙碌生活的独处时光；一件件带着温暖和自然气息的手作小物，串联成《造物集》中那些恰到好处的幸福光影。

爱摄影，走到哪儿都要带着相机的爸爸；爱臭美，喜欢鼓捣手工护肤品的妈妈；爱撒娇，除了睡觉就是粘人的金毛小公举，一个温暖快乐的三口之家，通过影像记录下日常的手作点滴，取天然花草、原味香料和各种有机食材，经过质朴而简单有趣的手工，作出全家人养护肌肤、疗愈身心的日常用品。一段段抽离忙碌生活的独处时光；一件件带着温暖和自然气息的手作小物，串联成《造物集》中那些恰到好处的幸福光影。

药师谷医女穆兰清意外救治了一只受伤的白猫，对方却在康复之后悄悄离开了药师谷，为了寻猫，穆兰清意外碰上前来药师谷找麻烦的魔教反派，危急时刻，白猫化身的女侠——陆桐出现，解救了穆兰清并在药师谷中小住了下来，两人也在相处中成为了至交好友……

神秘的苍梧国中，大将军羲明畏罪自尽，满门被屠，长女羲和（徐轸轸饰）自战场归来，也惨遭暗算。即将成为太子妃的她失去一切，重生为废柴沈千夜。怀着满腔不甘，沈千夜踏上了复仇之路，并与疑似凶手的跋扈小皇叔裴夙（叶盛佳饰）纠葛不休，在调查真相的过程中揭露苍梧国中暗藏的重重秘密，最终寻得光明。

罹患痔疮的年轻武士擅长写诗，在执行任务的过程中误杀了自己的同事，却偶遇了美丽机制的槟榔公主，两人语言不通却在斗智斗勇的过程中建立了诗意一般的感情。在通过诗句与感觉的交流后，他们将一起面对复活杀手带来的危机......

神秘的苍梧国中，大将军羲明畏罪自尽，满门被屠，长女羲和（徐轸轸饰）自战场归来，也惨遭暗算。即将成为太子妃的她失去一切，重生为废柴沈千夜。怀着满腔不甘，沈千夜踏上了复仇之路，并与疑似凶手的跋扈小皇叔裴夙（叶盛佳饰）纠葛不休，在调查真相的过程中揭露苍梧国中暗藏的重重秘密，最终寻得光明。