《影子猎人》以一个虚构城市为背景，讲述了原本光明的世界突然之间被黑暗力量所笼罩。在城市的角落里出现了大量未知的嗜血异族，而影子猎人这个特殊群体作为非官方正义机构，实施了嗜血异族清除计划，在世界各地建立分区来对抗黑暗势力。影片塑造了以韩烈为首的影子猎人们，利用自己的智慧和能力与黑暗力量斗智斗勇的故事。猎人冷延前往迎接Z区调配影子猎人——凌欣，在返回C区的途中遭遇嗜血异族库拉斯袭击。冷延阵亡，混乱之间，神秘人物钟魁出现抓走了凌欣。C区贺战与韩烈赶到现场，库拉斯已经离开，两人顺着线索来到电影院却只有一具尸体等着他们。另一边，工藤和库拉斯之间似乎有着不可告人的秘密，神秘的钟魁也将凌欣送给了工藤，甚至凌欣似乎又回到了NBS之内，一切都变得破朔迷离。韩烈等人根据仅有的线索将目标锁定在了库拉斯和工藤之间，连钟魁也留下了些许蛛丝马迹，就在众人一筹莫展的时候，钟魁的电话突然打来，一个更阴暗的谜团随之慢慢展开。

某市最近接连发生了离奇死亡事件，作为酒店保安的蒲伟在一次抓捕狗仔队丁一的过程中发现了人鱼怪用毒水杀人的事情。可是人鱼怪的背后，却是妖灵族的恐怖家族——“混沌”在操纵，面对如此强大的对手，蒲伟团队该何去何从，而这一切的背后，又隐藏着怎么样的目的，这一切的答案，都将一一揭开。

究竟是何种剧痛，会在生命里刻下一道道深可见骨的伤痕？而又是怎样的过错，需要凭借这些锥心蚀骨的伤口来自我救赎？

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》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。

《影子》是埃德加·赖特首次执导的动画片，该片计划于2019年上映！