1997年，17岁的克拉拉和艾琳一见如故。她们溜到西西里的一座小岛上，决心在这里度过自由自在的夏天，也逃避那个她们想要忘记的事实。 　　该片曾入围2024年柏林国际电影节新生代少年单元。

拥有褐色眼睛的普通学生伊京，酷似夏天阳光的高中足球选手秀伊。18岁的夏天，陷入意想不到的爱情的伊京和秀伊描绘着一起的未来，迎来了20岁。与上大学的伊京不同，秀伊直接进入社会，在陌生的幸福和小小的误会中，两人将面临新的季节。

在内华达州炎热的夏天，一群处于青春期和成年期之间的二十多岁的年轻人，记录了他们一起反抗宵禁的时光，宵禁是由于他们所在的城镇发生了连环杀手的滥杀行为。

1991年夏，春日恭介、鲇川圆、桧山光这个关系微妙的三人组终于尘埃落定，阿光远赴美国求学，恭介和阿圆的关系也正式确立。这天早晨，恭介接到一通奇怪的电话，电话那边焦急地提醒他要注意今天的汽车。恭介不以为意，如常一般上街，结果遭遇严重车祸。由于家族的特殊体质，恭介的灵魂被撞入一个时空隧道，继而落到了3年后的世界。在1994年的未来，恭介和阿圆结为夫妇，二人各自围了理想而努力。恭介远赴波西尼亚战场拍摄，却因3年前的恭介的到来被撞进时空隧道失踪。1991年的恭介遇到了久未谋面的阿光，也见到了更为成熟的阿圆，他该如何返回自己的世界呢？ 　　本片根据同名小说改编。

描述了一位女孩以第一视角回忆的青春期的过往，缅怀自己因为意外死去的敬爱的老师和已经逝去的时光。

《橙路》这部曾经风靡八十年代日本、台湾以及香港的青少年漫画，原作者松本泉，这是他的第一部成名作。他在完成这部作品之後就封笔了，所以这也是他的封笔之作。 《橙路》日本全名“きまぐれオレンジロード”（台湾称之为“古灵精怪”-多难念的名字。）。而又一个偶然中，他kiss了另一个女孩的嘴唇，而被这个女孩视为白马王子的出现，这个女孩即是--桧山光。故事也因此开始……

卫昕与沈澄轩因对方出轨决裂，后意外相识并产生感情。黎芊芊爱慕沈澄轩，联合常溪寒多次设计陷害卫昕，制造绯闻、伪造受贿证据，还利用卫昕嗜赌的父亲卫理闹事，企图破坏二人关系与卫昕的记者事业。沈澄轩始终坚定维护卫昕，揭露黎芊芊与常溪寒的阴谋。过程中，众人发现父辈间的旧怨。最终，卫昕与沈澄轩收集证据，在法庭上让黎芊芊、常溪寒、陈敬山得到法律制裁。卫昕获年度风云记者，两人也收获圆满爱情。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？