年逾七旬的退休律师洛伦索总是拒人千里，与子女关系疏离。心脏病发几乎一命呜呼，活下来就得继续孤寡人生。女儿在法庭当翻译，能明白异国语言，却不懂老夫心事。倒是邻居搬来一家四口，让洛伦索暂借天伦之乐。只是邻居表面平静，内里却有难解的阴影。风暴过后，他再无法不面对逃避已久的亲情往事。

年逾七旬的退休律师洛伦索总是拒人千里，与子女关系疏离。心脏病发几乎一命呜呼，活下来就得继续孤寡人生。女儿在法庭当翻译，能明白异国语言，却不懂老夫心事。倒是邻居搬来一家四口，让洛伦索暂借天伦之乐。只是邻居表面平静，内里却有难解的阴影。风暴过后，他再无法不面对逃避已久的亲情往事。

在保守的50年代，还在读高中的田孟淑小姐与大她十六岁的田朝明医师相恋。恋情曝光以后，女方父亲千方百计尝试斩断这段恋情，两人决定私奔。现年九十二岁的田医师，虽然中风躺在病床上，热情活泼的田孟淑女士还是不离不弃、相知相惜。片中呈现大时代如何影响着小人物，小人物如何坚持理想、坚持爱情，不改其志，从一而终。

Even today, in order to create a sculpture in bronze, it is necessary to take the same steps taken in the fifth century BC for the Riace bronzes. These steps are not taught in school, but are passed on in the ancient oral tradition and through apprenticeships from artisans. This documentary is a way to observe and feel the work of a 100-year old bronze foundry in Italy: a place were past and present share the same gestures and where each gesture it's a sculpture itself.

为庆祝父亲的生日，全家在游轮上开了一个派对。一大家人和亲朋好友兴高采烈地在游艇上聚会，然而在自己母亲和四岁的儿子发生了一件事情之后，马库斯却浑身不自在，因为他隐隐回忆起了童年的事情。随着记忆被更多地挖掘，马库斯深陷其中，和自己的妻子产生了越来越多的隔阂，最终影响到了自己现在的婚姻。马库斯需要去直面自己现在的家庭、母亲，但更多的是自己，去克服童年记忆带给自己的阴影。

在保守的50年代，还在读高中的田孟淑小姐与大她十六岁的田朝明医师相恋。恋情曝光以后，女方父亲千方百计尝试斩断这段恋情，两人决定私奔。现年九十二岁的田医师，虽然中风躺在病床上，热情活泼的田孟淑女士还是不离不弃、相知相惜。片中呈现大时代如何影响着小人物，小人物如何坚持理想、坚持爱情，不改其志，从一而终。

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

在《手的沉默》中，空间与物件、整体与局部、正面与背部，不断交替；对日常与自我的言说，对政治与他者的评达，轮序登场。由此，这部短片尽管将镜头投向纺织女工沉默的手，闲谈却打破了工厂制度与空间的界限，让更多的社会政治空间与画面空间互为振荡，提示着沉默的不可能性，从而以姿 态/手势与言谈的双重奏勾勒纺织女工的日常，让劳作者的身体和心智同时在场，并将拍摄者和镜头，以至观众的凝视一齐拖拽到同一场域之下与此同时，技艺与艺术，手工者与艺术家，劳动与创作之间的严格区分也在此场域之下趋于模糊。