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

本剧改编自同名漫画，讲述了一心一意思念青梅竹马的爽朗受欢迎男子田中一仁，和擅长家务的淳朴男子夏川凉太之间的关系。故事从2人以升入大学为契机开始合租房间而展开。夏川知道了一仁喜欢的人是自己，开始意识到一仁的存在，从此一段坚强而笨拙的恋爱故事就此展开。

本剧改编自同名漫画，讲述了一心一意思念青梅竹马的爽朗受欢迎男子田中一仁，和擅长家务的淳朴男子夏川凉太之间的关系。故事从2人以升入大学为契机开始合租房间而展开。夏川知道了一仁喜欢的人是自己，开始意识到一仁的存在，从此一段坚强而笨拙的恋爱故事就此展开。

本剧改编自同名漫画，讲述了一心一意思念青梅竹马的爽朗受欢迎男子田中一仁，和擅长家务的淳朴男子夏川凉太之间的关系。故事从2人以升入大学为契机开始合租房间而展开。夏川知道了一仁喜欢的人是自己，开始意识到一仁的存在，从此一段坚强而笨拙的恋爱故事就此展开。

宫泽饰演的主人公井川迅因为害怕被周围人知道自己是gay而独自从东京来到乡下，他曾经喜欢的日比野渚（藤原季节）却时隔8年带着女儿再次出现。

在结婚纪念日这天，产科医生温绾接诊了一个特殊的孕妇——她老公的白月光宋瓷，而陪她来产检的人是她的老公江停澜。温绾在这天同时做了两个决定，一是离婚，二是人流，她冷静地完成离婚与人流手术，在江停澜毫不知情的情况下悄然离开。当江停澜发现温绾离开，得知她怀孕又流产的真相时，终于认清自己的感情，但此时的温绾早已开启了新的生活，最终他只能看着温绾走向新的幸福。