Dust, starring Alan Rickman and Jodie Whittaker, is the short story of a man who follows a young girl and her mum home from school one day. He waits outside their house until nightfall before breaking in. Once inside, events take an unexpected turn...

"Chiri" is the close observation of the end of the life of her foster mother, after she had turned 95. Following her mother's daily life as she lives out her time, steadily approaching death, Kawase contemplates the fundamental themes of her own film productions.

女孩窦窦自小与外婆住在一起，初潮期间她萌发了感情的嫩芽，也逐渐理解了外婆对她的念叨和关心。影片聚焦了初中女生的家庭生活，以质朴的笔调轻触了青少年性启蒙话题。扮演祖孙的两位演员贡献出真实自然的表演，片中隔代生活的各种细节颇能引发中国观众的共鸣。本片由两位导演联合执导，一位是南京艺术学院讲师杨骥，另一位是摄影师出身的蒋逸霄。

2008年春节，陕西关中大地上覆盖着厚厚的积雪，一片寂静，67岁的吕崇德照例迎来了新的一年。他是华县著名皮影戏前声潘京乐的唯一徒弟，两年前开始受雇于一家民营公司，在县城和农村的各种场合中表演皮影戏。董进水是公司里的另外一个前声艺人，他的师爷赵振才今年已经82岁了，十多年前患白内障，停止了演出，不过一年前刚刚做了复明手术。夏天，华县的摄影师张韬来到赵振才的家里，希望他能够复出，演一出拿手好戏。 　　春去秋来，日子一天天过去，吕崇德往来于县城和农村的家中，在演戏之余照料着家中田里的农活。他从60年代开始随潘京乐的戏班学戏、演戏，而现在，皮影戏的演出越来越少，他们这一批最年轻的碗碗腔皮影传人也默默地与皮影戏一同老去。 　　2007年至今，清华大学清影工作室历时两年的时间往返华县十余次对于皮影做了较为深入的研究。同时，清影工作室历时一年半的时间，拍摄了纪录片《戏末》，一部以华县皮影为主题的纪录作品。

新加坡海岸线上的填海工地，工人王必成失踪了。两名警探闻风而至，在工地周围四处探询王必成的踪影。躁郁的氛围、失眠的夜晚，警探在梦里见到王必成身影，而令人不安的真相，也将在虚实难辨的湿热幻境中揭开。 在虚实难辨的故事结构中，揭开新加坡沿海无证移工的生存困境。黑色电影的基底下，萨克斯风音乐、霓虹光线交错，切换视角的叙事方法，打造如梦似幻的空间感。故事背景极度写实，影像风格却忧郁抽离，带领观众远离对新加坡的刻板想象，在破碎消散的时间感中，探向当代新加坡的真实焦虑。

《幻土》属惊悚题材，剧情讲述两位警察追踪一名在本地填海工地工作的外藉劳工时，忽然失联。宏荣扮演前CID探员，在查案及寻找失踪客工的过程中，由于太投…

Hilarion Zabala, a former master sergeant, is tormented by a strange smell. The diagnosis is phantosmia, i.e. olfactory hallucinations, where he perceives smells that do not actually exist. His doctor attributes this to past trauma and recommends that he confront and recall his dark military service period as a solution. Zabala, willing to take on any task, voluntarily visits a military base and is eventually assigned to a remote island penal colony. However, another horrific reality awaits him there. 　　From religious bloodshed to human rights abuses against women, the various forms of violence created by humans are still structurally and routinely pervasive. How can justice and salvation be achieved in an age of violence? Can violence used to prevent violence ever be justified? Deep anguish is reflected through the contemplative black-and-white imagery. (BOO Kyunghwan)

Hilarion Zabala, a former master sergeant, is tormented by a strange smell. The diagnosis is phantosmia, i.e. olfactory hallucinations, where he perceives smells that do not actually exist. His doctor attributes this to past trauma and recommends that he confront and recall his dark military service period as a solution. Zabala, willing to take on any task, voluntarily visits a military base and is eventually assigned to a remote island penal colony. However, another horrific reality awaits him there. 　　From religious bloodshed to human rights abuses against women, the various forms of violence created by humans are still structurally and routinely pervasive. How can justice and salvation be achieved in an age of violence? Can violence used to prevent violence ever be justified? Deep anguish is reflected through the contemplative black-and-white imagery. (BOO Kyunghwan)

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)