热爱摄影的18岁少年一心想要去西藏观星，却反复遭到母亲的阻挠，叛逆的布西冲动之下逃出家门，只身前往西藏，却在路上频频受挫。一次偶然的机会，布西遇到了沈民，二人在机缘巧合之下开始了一段搭伙的旅程。

保罗载着无忧无虑身患绝症的兄弟艾略特，踏上了去往加州猛犸 山的告别之旅。而艾略特计划着在猛犸山按照“尊严死亡法案” 来结束自己的生命。保罗不仅承受着极大的悲痛，还要承担起家 庭的责任。

保罗载着无忧无虑身患绝症的兄弟艾略特，踏上了去往加州猛犸 山的告别之旅。而艾略特计划着在猛犸山按照“尊严死亡法案” 来结束自己的生命。保罗不仅承受着极大的悲痛，还要承担起家 庭的责任。

年轻有为的里奥•维德勒斯（Gael García Bernal 饰）是美国一家游戏网站的创始人，妻子艾伦（Michelle Williams 饰）则是某家医院的外科医生。夫妻俩终日忙碌，奔波不停，只得把7岁的女儿杰姬（Sophie Nyweide 饰）托付给菲佣格罗瑞娅（Marife Necesito 饰）照看。 　　某天，里奥和合作伙伴飞往泰国洽谈业务，无休止的谈判令他疲劳不堪，于是他独自一人来到荒郊海滨，为这里的野性原始气息所吸引，流连忘返；丈夫的离开让艾伦倍感空虚，她尝试和女儿沟通相处，然而太久的疏离让母女的亲情不知不觉变淡，任凭她怎样努力却始终不得其法；格罗瑞娅为了让两个儿子读书而远赴异国他乡，她一面倾情照顾可爱的杰姬，一面又深深牵挂思母情深的儿子们。 　　在这个繁华快节奏的世界里，每个人的心灵都无所寄托……

道电光划过长空并碰撞城自然历史博物馆。原来是一艘宇宙飞船，外来异兽为了适应地球环境，遂捉住了地球生物－－展馆内冰冻的巨大猛玛。冰冻的４万年前古老猛玛得到解救，巨大猛玛逃出博物馆凶性大发，整个城市瞬间陷入凶猛的铁足之下，到外一片悲呼惨叫，人们无处可逃……

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 　　此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。