The last exams at school, everyone is in a celebratory mood. The transgender teenager Noah is one of them - but he’s often thrown out of this happy mood and overtaken by tormenting memories. In dazzling snapshots cut against each other, the trauma of the death of a friend is vividly experienced.

The last exams at school, everyone is in a celebratory mood. The transgender teenager Noah is one of them - but he’s often thrown out of this happy mood and overtaken by tormenting memories. In dazzling snapshots cut against each other, the trauma of the death of a friend is vividly experienced.

Double-Blind is a conceptual video work originally released in Europe as a feature film. In this voyeuristic examination of intimacy and identity, French conceptual artist Sophie Calle is joined by her collaborator and partner, Gregory Shephard. Armed with camcorders while cruising west across the United States in Shephard’s Cadillac, they produced and documented a real-life narrative of their journey — and their relationship. In this unconventional coast-to-coast road movie, America is the backdrop for Calle and Shephard’s strikingly different versions of their experiences. 　　The protagonists chronicle a landscape of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is subtly lured into reviewing the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout this personal exploration Calle seeks to redefine the terms and parameters of subject/object, public/private, truth/fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　Double-Blind 　　by Sophie Calle and Gregory Shephard 　　1992, 75:58 min, color, sound 　　In her premiere video project, French conceptual artist Sophie Calle joins with Gregory Shephard to create a voyeuristic tour de force. Armed with camcorders, Calle and her collaborator/partner Shephard head West in his Cadillac convertible to produce and document a real-life narrative of their journey and their relationship. With America as the backdrop for this unconventional coast-to-coast road movie, Calle and Shephard each narrates and records a personal diary, presenting strikingly different versions of the narrative/relationship. Aiming their dueling camcorders, the protagonists chronicle the elusive landscapes of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is challenged to reconsider the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout, Calle seeks to redefine through personal investigation the terms and parameters of subject/object, public/private, truth, fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　索菲·卡莱(Sophie Calle)1953年生于法国巴黎，现仍在巴黎居住。 　　索菲·卡莱的早期作品采用了寄生的方法，试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年，她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”，她经常暗中跟踪陌生人，监视她们，询问她们，让她们无意识地加入到她的游戏与故事中，如 1980年创作的“布朗克斯（Le Bronx）”、“威尼托的人（Suite venetienne）”、“自传（Autobiographies）”。1981年创作的“旅馆（Hotel）”、1983年创作的“证件（Le Carnet）”、1984年创作的“阿纳托里（Anatoli）”、1986年创作的“盲人（Les Aveugles）”、1990年创作的“坟墓（Les Tombes）”和1991年创作的“色盲（Color Blind）”。为了产生一种富有诗意的朦胧的效果，她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活，创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除（Die Entfernung-The Detachment）”中，她提供给我们一种重新收集回忆的过程，并将它视为艺术创作的形式。在原东柏林期间，卡莱曾经将许多社会主义的纪念性建筑物拍摄下来，柏林墙推倒之后，这些纪念物也相继被毁。此后，卡莱又重返故地，采访了曾经与这些建筑为邻的居民，记录下他们对往事的回忆与感想。在展览上，卡莱将照片与采访的录音并置，主观与客观相互补充，产生了非常好的效果。

Double-Blind is a conceptual video work originally released in Europe as a feature film. In this voyeuristic examination of intimacy and identity, French conceptual artist Sophie Calle is joined by her collaborator and partner, Gregory Shephard. Armed with camcorders while cruising west across the United States in Shephard’s Cadillac, they produced and documented a real-life narrative of their journey — and their relationship. In this unconventional coast-to-coast road movie, America is the backdrop for Calle and Shephard’s strikingly different versions of their experiences. 　　The protagonists chronicle a landscape of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is subtly lured into reviewing the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout this personal exploration Calle seeks to redefine the terms and parameters of subject/object, public/private, truth/fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　Double-Blind 　　by Sophie Calle and Gregory Shephard 　　1992, 75:58 min, color, sound 　　In her premiere video project, French conceptual artist Sophie Calle joins with Gregory Shephard to create a voyeuristic tour de force. Armed with camcorders, Calle and her collaborator/partner Shephard head West in his Cadillac convertible to produce and document a real-life narrative of their journey and their relationship. With America as the backdrop for this unconventional coast-to-coast road movie, Calle and Shephard each narrates and records a personal diary, presenting strikingly different versions of the narrative/relationship. Aiming their dueling camcorders, the protagonists chronicle the elusive landscapes of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is challenged to reconsider the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout, Calle seeks to redefine through personal investigation the terms and parameters of subject/object, public/private, truth, fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　索菲·卡莱(Sophie Calle)1953年生于法国巴黎，现仍在巴黎居住。 　　索菲·卡莱的早期作品采用了寄生的方法，试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年，她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”，她经常暗中跟踪陌生人，监视她们，询问她们，让她们无意识地加入到她的游戏与故事中，如 1980年创作的“布朗克斯（Le Bronx）”、“威尼托的人（Suite venetienne）”、“自传（Autobiographies）”。1981年创作的“旅馆（Hotel）”、1983年创作的“证件（Le Carnet）”、1984年创作的“阿纳托里（Anatoli）”、1986年创作的“盲人（Les Aveugles）”、1990年创作的“坟墓（Les Tombes）”和1991年创作的“色盲（Color Blind）”。为了产生一种富有诗意的朦胧的效果，她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活，创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除（Die Entfernung-The Detachment）”中，她提供给我们一种重新收集回忆的过程，并将它视为艺术创作的形式。在原东柏林期间，卡莱曾经将许多社会主义的纪念性建筑物拍摄下来，柏林墙推倒之后，这些纪念物也相继被毁。此后，卡莱又重返故地，采访了曾经与这些建筑为邻的居民，记录下他们对往事的回忆与感想。在展览上，卡莱将照片与采访的录音并置，主观与客观相互补充，产生了非常好的效果。

仙王张昊天因对抗心魔老人永堕轮回成人，遭女友杨千雪背叛濒死之际觉醒仙王能力。他偶遇并救助夏家千金夏语冰，却因救夏横江被误认为是骗子。期间，夏语冰被周百川强娶未遂，张昊天在化解夏家危机时，逐渐展现非凡实力，开启快意都市人生。

女星本田翼与演员冈山天音双主演MBS/TBS深夜日剧《昨晚过得很愉快吧》剧集改编自金田一莲十郎的同名漫画，两人在剧中住合租屋一起玩游戏。 　　原著漫画讲述一对因网络游戏《勇者斗恶龙X》相识的男女的故事。冈山天音在剧中饰演宅男五月拓海，在游戏中玩女性角色，邀请游戏中的小伙伴吾郎合租房子，却不知现实中五郎的玩家是可爱女生冈元美弥子，于是两人就开始了奇妙的同居生活。

冈山天音在剧中饰演宅男五月拓海，在游戏中玩女性角色，邀请游戏中的小伙伴吾郎合租房子，却不知现实中五郎的玩家是可爱女生冈元美弥子，于是两人就开始…

失业的编剧生活窘迫，为了父母给的100美元津贴，她和家人一起去度假，就此卷进了一系列家庭冲突之中。本片是加拿大导演路易斯·代·德菲利皮斯自编自导的长片处女作，敏锐细腻地表现代际冲突和亲人之间愉悦温暖的日常。爆炸脾气的母亲和松弛的父亲是熟悉的家庭场景，主角以超脱剧情中心的方式，融入在了家庭之中。荣获2022年圣塞巴斯蒂安国际电影节塞巴斯蒂安奖最佳影片奖、2023年鹿特丹国际电影节青年评审奖。

急躁挑剔的凯特（艾娃·朗格利亚 Eva Longoria 饰）和温柔随和的汉瑞（保罗·路德 Paul Rudd 饰）是一对性格各异、却又得到完美互补的情侣。经过多年的爱情长跑，他们终于迎来步入婚姻殿堂的那一天。然而，美满的婚礼却因一场意外而永久推迟。凯特不幸死于非命，这也给了汉瑞最为沉痛的打击。接下来的一年时间，汉瑞始终沉浸在悲痛中无法自拔。他的妹妹克洛伊（Lindsay Sloane 饰）焦急万分，于是找来通灵者艾丝莉（蕾克·贝尔 Lake Bell 饰）希望能帮汉瑞走出困境。 　　第一次的通灵并不成功，克洛伊偷偷将凯特的日记交给艾丝莉，请她假扮凯特劝解哥哥。在这一过程中，艾丝莉和汉瑞相互吸引。令人想不到的是，已经升天的凯特似乎不愿将男友拱手相让，她竟折返人间！两人一鬼，究竟会闹出怎样的故事呢？