“槟榔西施”燃烧着青春与肉体，美化这小小的霓幻空间，使其可亲、可欲、可望。在产业凋敝的乡间、求职不易的时机里，西施们的青春不再值钱。在神秘的玻璃宫中，她们诉说日常生活琐事、彼此关爱、分享情感、性爱的困惑或工作的寂寥。每一个太阳升起时，继续展露灿烂的笑容，再一次地妆扮自己，期待又一天美好业绩的到来。

“槟榔西施”燃烧着青春与肉体，美化这小小的霓幻空间，使其可亲、可欲、可望。在产业凋敝的乡间、求职不易的时机里，西施们的青春不再值钱。在神秘的玻璃宫中，她们诉说日常生活琐事、彼此关爱、分享情感、性爱的困惑或工作的寂寥。每一个太阳升起时，继续展露灿烂的笑容，再一次地妆扮自己，期待又一天美好业绩的到来。

听闻一座未完成的建筑中满是鳄鱼，一位中国女性来到金边。她沿着湄公河漫步，寻找一位失散的朋友。

听闻一座未完成的建筑中满是鳄鱼，一位中国女性来到金边。她沿着湄公河漫步，寻找一位失散的朋友。

As he turns thirty, a penniless young man is overwhelmed with artistic doubt. In order to forget a recent break-up, his slim figure drifts aimlessly through the streets of Taipei, buzzing with the rumours of the autumn 2019 general elections. Wang Chun-Hong has composed a bewitching piece of documentary autofiction, enhanced by a glossy black and white.

架空的二十年后，科技的进步和VR的普及，人们对偶像变得越来越热衷。世界范围内出现了世界偶像联盟，举办各种偶像活动与比赛，以及偶像排行榜。 华音学院是一所偶像专门学校，历史悠久，并培养过众多顶尖偶像，但近年来却由于教育理念与现代的偶像培育理念不同且没有出名偶像出现，逐渐的在人们的视线中淡去。在这所学园内，来自不同国度、个性鲜明的六名偶像种子，在苦乐并存的切磋琢磨当中，以偶像联盟的顶点为目标不断成长着……

艺伎，字面上的含意为"以艺术为生"。每个艺伎都要经过严格的训练，学习茶道、书法、乐器、舞蹈、礼节等等。男人们用餐时，她们跪在旁边斟酒上菜，微笑着和他们聊天。待到酒过三旬后，艺伎开始表演以活跃气氛，不论是弹奏乐器或是演唱情歌。最令人称赞的是艺伎的谈话艺术，无论是国际新闻，还是花边消息，她们都了若指掌。 但是艺伎这一古老的文化行业，是否能够在现今充满竞争、科技日新月异的现代日本社会保存下来？十九世纪20年代是艺伎行业的全盛期，有将近80,000名的艺伎，而今却剩下不到1,000名。 　　艺伎的世界始终保持着一种神秘感。她们浓妆的脸上几乎看不出喜怒哀乐，她们是日本文化与艺术的缩影，这也是她们为之骄傲的。艺伎一生就是为了服侍日本上流社会中的达官显贵、富商阔佬，人们只能在那些豪华的茶店酒楼和隐密的日本料亭中看到她们的身影。所以基于上述的种种原因，艺伎一直被笼罩在一层神秘的面纱之下…… 　　 　　Dismissed by Western society as little more than high-priced call girls, the Japanese women known as Geisha are part of a centuries-old tradition that made them a vital part of that country's society. See how they were trained from childhood in music, the arts, conversation and "massaging the male ego," and visit with modern-day Geisha, in this revealing program.

讲述马泰尔饰演的男孩Paul跟父亲住在纽约乡下，过着与世隔绝的生活，因为患有稀有的天生多毛症，身上很多地方会长出长长的毛发，Paul很难交到朋友。而13岁生日那天，他收到一份神秘礼物，因此逃出了家门，想去寻找自己从不知道是谁的母亲。

This iconic, Emmy-nominated series is a Tinseltown institution in its own right for its compelling stories from the world of entertainment

Roza (Lucyna Winnicka) marries a promising young architect, Juliusz (Roland Glowacki); for a few months, they have a blissful life together. Then World War II breaks out and within weeks Juliusz is deported to a concentration camp. Months, and then years go by, until Roza abandons any hope that her husband might return. She meets and falls in love with another man, and tries to put her life back together, but one day, unexpectedly, Juliusz does return - a shattered, mere ghost of his former self, physically crippled and tormented by memories of the camps. First out of duty, then out of pity, Roza starts to care for him, but her feelings slowly are transformed into a kind of revulsion. Kawalerowicz here takes up a theme that would be frequently addressed by later Polish films: the lingering psychological and emotional scars wrought by the war, a kind of weight from the past impeding the creation of any kind of future.