2012 年，安全部队打赢了一场打击毒品贸易的大规模战争。最大的交易方被截获，来自阿富汗和欧洲的供应走廊陷入瘫痪。但仅仅一年后，在欧洲最大地下市场的废墟上，又出现了一个新的地下市场。现在，现代技术和年轻的天才们已经来到这里，将毒品交易变成了高科技工业部门。

《歐洲甦醒》是為2006年台北雙年展：（限制級）瑜珈所創作的作品。創作的概念從靜照開始發想出發，運用我多年前在歐洲五國旅行所拍攝的幻燈片為主，讓這些幻燈片與各種不同規格的電影膠捲（十六釐米、標準八釐米 、超八釐米等）重新拼貼於三十五釐米的電影膠捲上，使靜態的影像進入一秒二十四格的動態電影的時間性中。我在異國經歷的各種風景已成為現成的影像資料，我用手工的方式將這些影像資料與我成長的生活照交替整合在一起，然後在數位技術的動態處理中再度產生細微的變化與瞬間的凝結，因而打破靜照與電影兩者之間的界限與原有的關係，創造出不同時間與空間的對話，激起我對自我身份與文化的異想，企圖同時喚醒電影創作者與觀眾內心深處的記憶。 　　德國電影導演荷索曾經在電影的拍攝過程中想去觸摸電影感光的過程，這樣的觸摸從來沒有在荷索拍電影的過程中發生過，而他這樣的衝動也沒有在他的影片上留下痕跡。在電影的拍攝中，雖然是人按下攝影機的快門，但電影的影像感光卻是由機械所操作與控制的。我希望在實驗電影的創作與探索中使這種不可能的電影夢想成真，在我的創作過程中留下這種觸摸與痕跡。 　　《歐洲甦醒》的影像主要由三十五釐米靜照的幻燈片與負片，以及部份十六釐米、標準八釐米 、超八釐米的電影膠卷所拼貼構成。我將利用現成的靜照影像，把過去多年來在歐洲五國旅行時所拍得幻燈片重新整理，以國家－歐洲（奧地利、匈牙利、捷克、德國與義大利）為單位穿插編排；同時穿插我成長時所拍的自拍照與生活合照，為了要讓這些靜態的幻燈片與負片跨越與超越自身的規格限制，必須作適度的改變而經過裁剪，與十六釐米、標準八釐米 、超八釐米的電影舊片被精細地排列黏貼整合在三十五釐米透明導片上。所使用的影像素材橫跨三十年：有70年代的八釐米色情影片、80年代在我個人底片簿的最初幾頁中的底片，從青春期到當兵退伍的成長速寫與家庭合照（家庭合照的底片一般會被父母長輩所收藏，而自己的底片簿通常是自己建構自我影像的開始。）、90年代遊歷歐洲五國所拍下的城市風景幻燈片、2000年以來個人十六釐米電影製作過程的工作拷貝，以及從電影後製公司所取得的三十五釐米商業電影的字幕片。 　　《歐洲甦醒》是人/影像創作者以手的觸摸與手工的方式重新付予各種影像新的呈像與生命，而不再只是受到機械的操控。企圖在不同的影像規格之間相互跨越與整合，讓影像超越靜態與動態的界限，從靜態到動態，進入電影的時間裡；再透過數位化與2D特效改變動態的影像的速度與節奏感，瞬間的凝結中讓動態的影像回到靜態，使影像能夠不斷地自由遊走在新的規格裡。一段段不同規格的電影底片與靜態影像層層交疊，我希望在這部作品中打破靜照與電影原有的時間性，過去我的家庭相簿裡影像將重新喚起記憶，在新的影像狀態中漸漸變得模糊而不確定。 　　《歐洲甦醒》是自我的甦醒；記憶的甦醒，但同時也是一種觀看的甦醒。我個人觀看的記憶與他人觀看的記憶透過手工製作的方式，顛覆觀眾過去觀看的方式，喚起觀眾觀看的欲望。當觀眾觀看時，觀眾便開始將私人的記憶與我的記憶混雜在一起，透過這種觀看的互動，讓觀眾察覺到自己在觀看，進而使觀眾產生一種不同以往的觀看方式。我試圖探討影像存在的狀態與限制，也試圖討論觀看的方式。尋找另一種觀看的方式，由觀看進到另一個空間，干預觀者穩定的觀看方式與狀態，從一種觀看再延伸至另一種觀看的可能。 　　Werner Herzog once thought about ‘touching’ the emulsion process during filmmaking. That ‘touch’ never happened in Herzog’s films. In the making of a film, though it takes a human being to push the button of a camera, it is the camera/machine that controls and operates the emulsion process of the film. 　　Initiated from the experiment on stilled images, “Europe Resurrection” was originally created for the 2006 Taipei Biennale – Dirty Yoga. “Europe Resurrection” is a collage composition made of 35mm slides and negatives, and of film negatives and prints in 16mm, Super-8mm, and Regular 8mm. Using found still images, I rearrange those slides taken during several trips to Europe over the years, and categorize them by countries—Austria, Hungry, Czech Republic, Germany and Italy; aside from these slides, I edit in self-portraits and family photos. In order to transcend/overcome the limitation of formats and textures of these still images, it is necessary to undertake certain transformation and editing which help to integrate them with 16mm, Super-8mm, and 8mm footages on clear 35mm film leader. Created with a human being/visual artist’s touch by hand and handmade processes that revive the inner spirit of variant imagery, “Europe Resurrection” is a film that is no longer monopolized by machinery maneuvers. It is a work that aims to transcend and integrate different film formats and visual styles, and that allows imagery to surpass the borderline between still and moving images—it may go from static to fluid, and from fluid back to static again—to travel freely in this new form. Overlapping layers of stills and moving images, the European landscape reincarnates in this new-born moving image that blurs and obscures. “Europe Resurrection” challenges the linear physical timeline of images and mental timeline of memories. 　　“Europe Resurrection” is an awakening call to self, to memory, and to perception. It explores the limitation of the state of being of image, and discourses ways of viewing. It looks for alternatives of the viewing experience by taking viewers into multiple times and spaces, and by further intervening the conventional ways of seeing and perceiving. It is a search for new possibilities of interacting with/reacting to the world of visual image.

辽宁卫视2013年全新娱乐、益智、服务类节目。

辽宁卫视2013年全新娱乐、益智、服务类节目。

关于巴宾的出生，有一个预言，那一天阴风怒号，浊浪排空。杂货铺老板夫妇在一起谈论着这几天的怪天气和古老的魔咒，正在此时，巫婆临盆了，在一番痛苦的挣扎与惨厉的号角声中，巴宾呱呱坠地。然而，他患有智障残疾的事实，却让这个家庭分崩离析。而且，镇上发生了奇怪的事情：杂货铺老板在培育萤火虫时引发教堂火灾，而神甫就在里面，结果那里成了一片废墟。当时巴宾在教堂边观望着冰凌，急切渴盼神往沉醉如同往常。发现起火他就拉钟。村里来了新的牧师。蛮横而且非常大意，是一个昏庸的制裁者。一次错怪了巴宾，就公报私仇指罪巴宾是纵火者。在他的恐吓和屈辱下，逼供在全村人面前说自己是纵火者。把巴宾送到绞首台。可是奇迹发生了……

Alain Badiou, born in 1937 in Morocco, demonstrated his exceptional skills in many fields of science, but became famous as a philosopher. The directorial duo the Kaylan brothers made their first feature film about Badiou, in which the philosopher himself talks about his work and personal life and presents his thoughts.

12岁的比勒是一个活泼可爱、本性善良的孩子，喜欢和村里的一个他非常喜欢的小女孩捉迷藏，生活简单而充满乐趣。阿婆已经80岁了，却孤独无依，还被无知的村民认为是一个总会给他们带来倒霉事的女巫。于是诸如粮仓被焚、女孩意外死去等不幸之事都归罪于她。而比勒却从老阿婆那里，听到了许许多多说也说不完的稀奇古怪的故事……

55-year-old Demba is about to retire after 30 years of service at the city hall in his small town in Northern Senegal. That hot summer, as the 2-year anniversary of his wife’s passing approaches, he realizes he just can’t “shake it off.” As his mental health deteriorates, he discovers a new connection with his once estranged son. 　　Grief and depression are so alike that for years, the American Psychiatric Association has urged doctors not to diagnose major depression in individuals who have recently lost a loved one. But what does that mean for a society that does not have a word for depression and where psychosocial disorders remain a taboo? 　　Can Demba recover from his loss without losing himself?

First-time feature filmmaker Rebeca “Beba” Huntt undertakes an unflinching exploration of her own identity in the remarkable coming-of-age documentary/cinematic memoir BEBA. Reflecting on her childhood and adolescence in New York City as the daughter of a Dominican father and Venezuelan mother, Huntt investigates the historical, societal, and generational trauma she’s inherited and ponders how those ancient wounds have shaped her, while simultaneously considering the universal truths that connect us all as humans. Throughout BEBA, Huntt searches for a way to forge her own creative path amid a landscape of intense racial and political unrest. 　　Poetic, powerful and profound, BEBA is a courageous, deeply human self-portrait of an Afro-Latina artist hungry for knowledge and yearning for connection.

一个县城女人因为一篇诬陷的诈骗案报道，走上了澄清自己的道路，却在这过程中沦为了“诈骗犯”。 　　虚实之间的信任、公平和人性将在此片中讨论。 　　A county woman desires to withdraw a media report that frames her as a fraudster, but the report already turns her into one during her journey to seek help from polices and the reporter.