In an episode that occurs halfway through Tarrafal, Cape Verdean immigrant José Alberto, having just received his expulsion notice, encounters the elderly, displaced Fonthainas resident Ventura waiting on the side of a dirt road as his friend, Alfredo tries in vain to catch rabbits by thrashing random bushes with a wooden club. In a way, the idea of silent, enduring landscapes as figurative intersections for other unfolding - and often converging - human stories (a recurring theme in José Luis Guerín's cinema as well) may be seen as a metaphor for Pedro Costa's densely layered themes of dislocation and statelessness. As subsequently revealed in The Rabbit Hunters, Alfredo, too, is homeless, resorting to a life in the streets after having been thrown out of the apartment by his wife. In Tarrafal, this converging image of forced - and implicitly traumatic - displacement and exile is established in the opening images of José Alberto's ironic inquiries to his mother over the derelict conditions of their ancestral houses in Cape Verde from his own ramshackle home in the slums. As the conversation morphs from the neglect and inhabitability of their beloved, deserted homes that recalls the reclamation of abandoned ghost houses in In Vanda's Room, to the strange tales of a blood-sucking phantasm who foretells a person's hour of death by surreptitiously leaving letters in the most mundane of hiding places to be subsequently retrieved at the time of their immutable appointment - an impersonal, life-altering communication that alludes to the state's arbitrary dispensation of deportation and eviction notices in modern day Portugal - Costa illustrates a sense of anonymous interchangeability among the transitory, drifting souls of Tarrafal. Visually, this sense of surrogacy and transplantation is reflected in the repeating angular doorway view of José Alberto's house: first, in the solitary image of José Alberto facing away from the camera as he sits on a wooden plank to smoke, then subsequently, in a reframed shot of Ventura and Alfredo seated on the same plank looking out into the neighboring town, commenting on the profound transformation of the once desolate landscape (note Alfredo's humorous misidentification of stray cats as rabbits that further reinforces their seeming interchangeability). Moreover, intrinsic in José Alberto's sad tale of requesting a work release to single-handedly bury his estranged father, and the rabbit hunters' conversation over their mistreatment and death at the hands of authorities is the specter of Tarrafal's unreconciled history as a prison camp where inmates were tortured and relegated to die a slow death. Composed as skewed, frame within frame stationary shots that evoke the acute angles and distanced address of Straub/Huillet, these parallel testimonies of dislocation, separation, entrapment, and fatedness unfold through supplanted images of interchangeable, moribund, drifting ghosts that integrally reflect their own erasure and social invisibility.

姜颂作为穿越小说的女主前身，本应大火中被替，却因求生欲导致剧情巨变二女共存。未婚夫被攻略，靠自己养活的母亲和弟弟也被利诱摇摆，是要让位甘愿被抹杀？还是奋起反抗？被除名未遂的炮灰角色，步步为营终改命逆袭。

《群芳頌》是一個有關新一代女性的故事。 本劇將嘗試用清新、艷麗和不落俗套的創作及拍攝手法，描繪出一幅幅香港女性的風情畫，呈現在觀眾的面前。 故事中五位女主角都是一樣的年青、美麗、充滿愛心和觸角敏銳的女性。她們雖然來自不同的階層，社會背景，和各有不同的性格，觀眾可以透過她們所遭遇的人生路上各種戲劇性的際遇，看到她們嘗透人生百態，愛與恨，喜與樂等，從而體會到現代女性美麗、光輝、積極的一面。

We owe this year’s trailer to one of the great contemporary women filmmakers, Alice Rohrwacher. Shot on 16 mm film, it plays with the mystery of creation and the magic of light and shadow from which cinema is born. It’s an invocation to the return to innocence, which is the prerequisite for every new discovery, the driving force behind the eternal cycle of life. An excerpt from Pablo Neruda’s poem “Oda a la manzana” (“Ode to the Apple”), performed by the author himself, at the same time praises the film, the precious moment of a rediscovery and a new creation: 　　Cuando mordemos 　　tu redonda inocencia 　　volvemos 　　por un instante 　　a ser 　　también recién creadas criaturas 　　aún tenemos algo de manzana. 　　“When we bite in to your round innocence we too regress for a moment to the state of the newborn: there is still some apple in us all.”

1950年底，战斗英雄张天和奔赴朝鲜战场，途中“顺便”回老部队指挥了一仗，并俘获了前往救援被围美军的特遣队队长威廉。他按上级指示将战俘转运去后方，但在历经艰辛完成押送任务后，又被一纸命令要求就地组建战俘营。总部派出以庄南星为组长的工作组前来协助工作，于是满脑子民间智慧的张天和与一肚子洋墨水的庄南星，在工作中不断产生分歧，好在有政委李斌从中调和，实现两人互补。战俘营里，志愿军展现了热爱和平、充满人道主义的博大胸怀，有更多的战俘在这所像学校的战俘营里，扭曲的良知被逐渐唤醒。停战前夜，庄南星在坑道里写下了《和平颂》。

《群芳頌》是一個有關新一代女性的故事。 本劇將嘗試用清新、艷麗和不落俗套的創作及拍攝手法，描繪出一幅幅香港女性的風情畫，呈現在觀眾的面前。 故事中五位女主角都是一樣的年青、美麗、充滿愛心和觸角敏銳的女性。她們雖然來自不同的階層，社會背景，和各有不同的性格，觀眾可以透過她們所遭遇的人生路上各種戲劇性的際遇，看到她們嘗透人生百態，愛與恨，喜與樂等，從而體會到現代女性美麗、光輝、積極的一面。

We owe this year’s trailer to one of the great contemporary women filmmakers, Alice Rohrwacher. Shot on 16 mm film, it plays with the mystery of creation and the magic of light and shadow from which cinema is born. It’s an invocation to the return to innocence, which is the prerequisite for every new discovery, the driving force behind the eternal cycle of life. An excerpt from Pablo Neruda’s poem “Oda a la manzana” (“Ode to the Apple”), performed by the author himself, at the same time praises the film, the precious moment of a rediscovery and a new creation: 　　Cuando mordemos 　　tu redonda inocencia 　　volvemos 　　por un instante 　　a ser 　　también recién creadas criaturas 　　aún tenemos algo de manzana. 　　“When we bite in to your round innocence we too regress for a moment to the state of the newborn: there is still some apple in us all.”

1950年底，战斗英雄张天和奔赴朝鲜战场，途中“顺便”回老部队指挥了一仗，并俘获了前往救援被围美军的特遣队队长威廉。他按上级指示将战俘转运去后方，但在历经艰辛完成押送任务后，又被一纸命令要求就地组建战俘营。总部派出以庄南星为组长的工作组前来协助工作，于是满脑子民间智慧的张天和与一肚子洋墨水的庄南星，在工作中不断产生分歧，好在有政委李斌从中调和，实现两人互补。战俘营里，志愿军展现了热爱和平、充满人道主义的博大胸怀，有更多的战俘在这所像学校的战俘营里，扭曲的良知被逐渐唤醒。停战前夜，庄南星在坑道里写下了《和平颂》。

根据Valentina Oseeva“丁卡”的故事改编。这是一个沙俄革命家的女儿和一个男工人的友谊故事。这些事件发生在1910年。

小男孩马基（麦克斯·雷诺丹 Max Renaudin 配音）一家人被猎人绑架，当作了奴隶准备贩卖到法国。马基趁着猎人熟睡之机，偷偷挣脱了手铐，开始了逃亡。路上遇到了长颈鹿“扎拉法”（黛博拉·弗朗索瓦 Déborah François 配音），不幸的是猎人沿着脚印追了上来，将“扎拉法”的母亲杀害了，马基答应“扎拉法”的母亲一定会照顾好他。危急关头沙漠王子汉森（西蒙·阿布卡瑞安 Simon Abkarian 配音）挺身而出，猎人被赶走了，汉森牵着“扎拉法”准备回自己的王国，马基信守诺言一直跟着汉森。回到王国后，汉森奉命将“扎拉法”带到法国，献给法国国王，请求他们出兵援助他们。他们从港口乘着热气球出发，经过阿尔卑斯和马赛达到巴黎，一路上艰难坎坷，马基能带“扎拉法”回非洲吗，法国国王是否会出兵援救呢…… 　　本片根据十九世纪真实事件改编，“扎拉法”是一头非洲长颈鹿，被当成埃及帕夏送给法国国王的礼物，成了欧洲的“大明星”。