讲述了狄仁杰刚进大理寺一个月，调查一桩杀人碎尸案，在看似平淡的案发现场，却突然出现了一个神秘的图案。但就在狄仁杰准备深入调查的时候，却遭到了上级的反对，这让他更加怀疑，幕后肯定有更大的黑手。

讲述了狄仁杰刚进大理寺一个月，调查一桩杀人碎尸案，在看似平淡的案发现场，却突然出现了一个神秘的图案。但就在狄仁杰准备深入调查的时候，却遭到了上级的反对，这让他更加怀疑，幕后肯定有更大的黑手。

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

音乐也许没有国界，但不会没有祖籍。这是一次沿着余音观望来路的尝试。我们也许在科学语境下曾经了解过一些西洋乐器，但关于自己的传统民乐却一直很少如此剖析。本片将从具体的传统乐器和奏鸣技巧入手，通过科学解构、演绎解析等诸多全新手段和视角，从美学、哲学、科学多方面交互解读，以现代影音重新泛起那种似曾相识的共鸣。

失控世界，潮流、刺激的末日战场。

失控世界，潮流、刺激的末日战场。

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.