A famous film star is put under an anesthetic after an attempted suicide and relives her melodramatic past. Written by Anonymous 　　--------------------------------------------- 　　Gaby Doriot's new popular song "La signora di tutti" will be a hit in France, so her manager is negotiating a new contract with her film production company... The movie studio is bustling, but Gaby is nowhere to be found. Her manager checks her hotel, finding her on the bathroom floor: an apparent suicide attempt. At the hospital, as the anaesthetic is applied, Gaby flashes back to her life back home in Milan... At school, Gaby's affair with a married teacher gets her expelled. She and her sister Anna are invited to a party by Roberto, the son of a well-to-do banker. He and Gaby plan to go to Rome together, but his father's unexpected return sends him off alone. Gaby is on very good terms with Roberto's invalid mother, but his father, Leonardo, is drawn to Gaby... Written by David Carless

A famous film star is put under an anesthetic after an attempted suicide and relives her melodramatic past. Written by Anonymous 　　--------------------------------------------- 　　Gaby Doriot's new popular song "La signora di tutti" will be a hit in France, so her manager is negotiating a new contract with her film production company... The movie studio is bustling, but Gaby is nowhere to be found. Her manager checks her hotel, finding her on the bathroom floor: an apparent suicide attempt. At the hospital, as the anaesthetic is applied, Gaby flashes back to her life back home in Milan... At school, Gaby's affair with a married teacher gets her expelled. She and her sister Anna are invited to a party by Roberto, the son of a well-to-do banker. He and Gaby plan to go to Rome together, but his father's unexpected return sends him off alone. Gaby is on very good terms with Roberto's invalid mother, but his father, Leonardo, is drawn to Gaby... Written by David Carless

Out of Many explores the pervasive social disparity in Kingston, Jamaica from the perspective of a teenage girl. Asha is the daughter of a politician and enjoys a life far removed from a harsh reality that many Jamaicans face. Her bubble of privilege pops when she sees the dead body of a street cleaner. Asha’s world view begins to unwind as she is thrusted into deep introspection.

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

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.

中国传媒大学2021届（2017级）动画联合创作

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.

中国传媒大学2021届（2017级）动画联合创作

来势凶凶的女主，男主被整得很惨 温柔美丽的女孩总是别人眼中欺负的对象，讨厌的恶女三人组 校园剧必用的一招，英雄救美 恶女三人组遇见女主，没辙了 开始，女二是喜欢男主。 　　Amon博士有异于常人的能力，为了秘密不被揭穿，残忍的杀害了Xinthuga的父母，迫使年幼的Xinthuga摔下悬崖。幸好被人在树下救起。因为Xinthuga失去记忆，所以改名为Knathin长大。在学校里，Knathin是出名的大力士，仿佛神力加身。而因内衣贼事件结识的无用男Tong认为她就是个巫婆。在他们打闹成长的同时，黑暗势力的魔爪也慢慢伸向了学校.

“Provisions for Everybody” inscribes an eccentric itinerary on and off the trail of George Orwell that accompanies a reading of ‘The Road to Wigan Pier’. Traveling between Northern England, Eastern India, Myanmar (Burma) and Catalonia, Raqs pause at Wigan Pier (in England) where Orwell queried the future, at Motihari (in Bihar, India) where he was born in the shadow of an opium godown, on the road from Mandalay where he began to understand the operations of force, in the neighborhoods of Newcastle and Durham where he investigated coal mining and miners, and in the streets of Barcelona, where he dodged bullets.