医女顾眠和母亲上山采药救下太子萧衡,被英国公嫡女谢妤舒发现, 冒名顶替救命恩人的身份, 并残忍杀害顾眠的母亲和弟弟,自己也被谢妤舒一刀刺进心脏, 毁了容。三年后, 顾眠因心脏在右, 保下了一命。 在后宫谋划三年,只为替家人复仇,于是开始接近已经是舒妃的谢妤舒 , 步步设局, 夺取她的荣耀、宠爱,击垮她的骄傲。

医女顾眠和母亲上山采药救下太子萧衡,被英国公嫡女谢妤舒发现, 冒名顶替救命恩人的身份, 并残忍杀害顾眠的母亲和弟弟,自己也被谢妤舒一刀刺进心脏, 毁了容。三年后, 顾眠因心脏在右, 保下了一命。 在后宫谋划三年,只为替家人复仇,于是开始接近已经是舒妃的谢妤舒 , 步步设局, 夺取她的荣耀、宠爱,击垮她的骄傲。

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

由英雄缘起纪录片工作室拍摄，讲述《大笑江湖》背后的故事，同时留给你一个疑问“什么是江湖”