西历5012年。突然入侵地球的＜外星人＞与其制造的＜机械生物＞导致人类面临灭亡危机。 　　仅存的人类逃至月球，为了夺回地球，利用＜人造人＞士兵展开反攻作战。 　　然而无限增加的＜机械生物＞阻挡在前，战争陷入胶著状态。 　　作为最终兵器，人类派遣新型人造人＜寄叶＞部队至地球。刚被派往地球的＜2B＞与先行调查员＜9S＞会合，一同执行任务，却在途中遇见许多神秘难解的现象……。 　　这是关于为人类而战，无生命＜人造人＞的故事－－ 　　PS：Automata指的是“自动人形”，别再机械纪元求求了。

公元5012年。 突然降临地球的“外星人”，以及他们创造的“机械生命体”，让人类陷入了灭绝的危机。 极少数人类逃到月球上，为了夺回地球，开始了使用“人造人”士兵的反攻作战。 但是，面对能无限增殖的机械生命体，战况陷入了僵局。 最终，人类派遣最终兵器，新型人造人“寄叶”部队前往地球。 公元11945年。 “第243次空降行动”开始实施，新加入寄叶部队的“2B”和”9S”被派往地球。 最终，他们成功消灭了机械生命体的主干单位“亚当”及“夏娃”。 “人类军”认为这是歼灭敌人，终结漫长战争的好机会，于是命令对机械生命体发动总攻。 这是被命运操纵的人造人们留下的战斗与愿望的记录——

据IGN报道，《尼尔：自动人形 Ver1.1a》已决定制作第二季，并公布了第二季预告。西历5012年。突然入侵地球的外星人与其制造的机械生物导致人类面临灭亡危机。仅存的人类逃至月球，为了夺回地球，利用人造人士兵展开反攻作战。 然而无限增加的机械生物阻挡在前，战争陷入胶著状态。 作为最终兵器，人类派遣新型人造人「寄叶」部队至地球。刚被派往地球的「2B」与先行调查员「9S」会合，一同执行任务，却在途中遇见许多神秘难解的现象……

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

单元剧1+1=1是一个专讲夫妇间事的剧集，每一集都有不同的故事。其中周润发与赵雅芝参演过其中一个单元，两人剧中饰演的是夫妻。 　　每一单元皆由不同的艺人分演其中的夫妇，演出不同的独立故事，是一个很有意思的节目，播出时也很受关注与欢迎。而每集因为剧本不同，演员不同，演出效果不同，受欢迎的程度也自不同。 　　周润发（饰阿杰）与赵雅芝（饰阿兰）饰演夫妻，阿杰与阿兰原本开着修理铺，过着如意的日子，但阿杰从前的一群恶霸朋友忽然间出现，逼迫阿杰，阿杰开始想法卖掉铺子，与妻子阿兰终于产生矛盾。恶霸们借机来到阿杰的家里，想打劫钱财，阿兰亦陷入他们的手里，阿杰赶回家里，不得不顺从他们答应取款给他们……

The playful film 1+1+1 shot on classical (old fashioned?) 16mm medium deals with the idea of progress. Progress is an issue that is becoming more and more pressing in these times of crisis developing to crisis developing to crisis – maybe progress of crisis? With a leap in the technologisation of life, but also growing inequalities and various tensions. We love progress, improvements, advances, growth. Is there a space for another loves? The film integrates situational acting with joyful elements of musical with meetings mostly writers and intellectuals in their natural environment. The story progresses through a road movie (sometimes a walk movie) – the journey of three main fictional characters.

賴恩慈對焦菜園村，以一個描寫爺爺與小孫女相處的小故事，向保衛家園而作反抗的村民致敬。鏡頭隨爺孫兩人走到立法會外，眺望已拆卸的天星、皇后碼頭舊址，走訪待重建的舊樓，以富貴竹作祝福，處處流露關懷。加上飾演小孫女的簡詠兒非一般「填鴨」式的率真演出，見證下一代實實在在的公民意識覺醒歷程。

During the Kadamba reign, King Vijayendra, the ruler of the fictional feudatory land of Bangra, meets his final fate while venturing into the mystical forest of Kantara. Witnessing this, his son Rajashekara seals the borders of their realm. Later, Prince Kulashekara reopens them through a brutal massacre. The protagonist, Berme, in search of prosperity, crosses the divide and ignites a conflict of faith, power, and destiny between the Kingdom and Nature.

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

Inspector Carlo Guerrieri, a veteran police officer from Rome, finds himself partnered with a rookie who was born in Ivory Coast but raised in the capital.