他是一个酒鬼副手、前越战老兵，忍受着情感的伤痕，这一伤痕是与一无赖暴徒在挟1500万美元逃跑时发生冲突造成的……

“For two years starting in 2020, this work has been forming along the edges of disquiet and premonition, in fragments and intensities, through wandering and not-staying. It has tried to find language for and ways across the bizarre upheavals of social and political values with the rise of fascism in India and a global pandemic. It has insisted on being amongst the things that keep from falling apart. Filmed in Delhi, these incomplete fictions are of the people, places, and protests that keep the language of hatred at bay and absorb the city’s grief and euphoria. In them are the continuous echoes of a violent and tenuous present. 　　The false closures and tenuous associations in this video/essay compose a timeline of the city at an angle through the time of this work. There is a shadowy sense of a protagonist who un-dreams it all; a stranger, who it turns out, is no stranger at all.” Priya Sen 　　源自：https://www.berlinale.de/en/2023/programme/202314746.html

“For two years starting in 2020, this work has been forming along the edges of disquiet and premonition, in fragments and intensities, through wandering and not-staying. It has tried to find language for and ways across the bizarre upheavals of social and political values with the rise of fascism in India and a global pandemic. It has insisted on being amongst the things that keep from falling apart. Filmed in Delhi, these incomplete fictions are of the people, places, and protests that keep the language of hatred at bay and absorb the city’s grief and euphoria. In them are the continuous echoes of a violent and tenuous present. 　　The false closures and tenuous associations in this video/essay compose a timeline of the city at an angle through the time of this work. There is a shadowy sense of a protagonist who un-dreams it all; a stranger, who it turns out, is no stranger at all.” Priya Sen 　　源自：https://www.berlinale.de/en/2023/programme/202314746.html

这个故事描写了70年代三个男人和一个女人关于友情，爱情和背叛的故事。在那个纯真年代里，我们充满了激情；在这个喧嚣的年代里，我们丢失了灵魂。如今我们已长大，但没有成人；当年我们未成人，但已经长大。当你不得不面对这个声色犬马的现实时，你只好追 忆着我们生活中最美好的年代。这不是爱情，但这个故事是关于爱情的，一段过去的爱情，一段被毁灭的过去。

这个故事描写了70年代三个男人和一个女人关于友情，爱情和背叛的故事。在那个纯真年代里，我们充满了激情；在这个喧嚣的年代里，我们丢失了灵魂。如今我们已长大，但没有成人；当年我们未成人，但已经长大。当你不得不面对这个声色犬马的现实时，你只好追 忆着我们生活中最美好的年代。这不是爱情，但这个故事是关于爱情的，一段过去的爱情，一段被毁灭的过去。

陈哲艺近日接受《银幕》采访，透露他将把疫情元素纳入一部短片及其第三部长片作品[我们都是陌生人]中。在伦敦封锁期间，陈哲艺的妻子发烧了，在房间中隔离了一周。他们蹒跚学步的儿子并不理解为什么母亲要与他保持距离。陈哲艺在昼夜不停地给房子消毒期间，还受了伤。这段经历将被改编为一部短片，陈哲艺将在伦敦家中的地下室远程执导这部短片，该短片具体细节暂未知。 　　陈哲艺也将疫情元素融入了[爸妈不在家]、[热带雨]后的“成长三部曲”最终章[我们都是陌生人]中。该片由杨雁雁、许家乐主演，许家乐将饰演一个被残酷生活逼迫得快速成长的年轻人。该片将探讨现代新加坡的特权和不平等问题，这些问题因疫情而进一步加剧，同时也会触及到陈哲艺影片中反复出现的主题，即如何超越血缘关系发展亲情。陈哲艺利用去年疫情封锁期，花费了半年时间完成了剧本，他希望影片能在2022年开始拍摄[我们都是陌生人]。

在上个世纪八十年代，为了寻求安全的生活，一群躲避苏丹内战而到处迁徙的孩子漂泊多年后，其中一部分在最近受到美国的政治庇护而定居，开始一连串的文化冲击。

福冈县大牟田市.父女两人住在这曾以煤矿繁华过的城市里.女儿竹本望美16岁,上高中一年级.因不愿上学烦恼着.暑假的最后一天,为摆脱自己烦闷的心情,骑上自行车来到城市郊外.在这里,她被不可思议的巨大废墟所吸引.那可以说是这座城市过去的象征的煤炭炉. 之后,与来采访关闭矿山后的大牟田市的记者冈林相遇.在图书馆发现被忘却的资料.这种种偶然,使望美渐渐深入故乡的历史. 一方面,寡言且固执的父亲正一受到经济不景气的影响,被工作单位汽车修理厂解雇.虽然不动声色地找着工作,但并没有起色. 望美的祖父母也住在同一所城市.祖父胜男曾是煤矿工人.遇上坑内爆炸事故,因瓦斯中·······

One morning it's all over. "There's No More We", says Hampus ice cold to his fiance Adrian. For Hampus it's a total relief to break up from their destructive relationship, for Adrian it's devastating. Adrian and Hampus now have to live through their last week together, before the final day arrives. But, let's begin with the ending ..

One morning it's all over. "There's No More We", says Hampus ice cold to his fiance Adrian. For Hampus it's a total relief to break up from their destructive relationship, for Adrian it's devastating. Adrian and Hampus now have to live through their last week together, before the final day arrives. But, let's begin with the ending ..