玉玉总觉得有人跟踪她，找来好朋友旦旦帮她拍摄取证的故事。 　　这是一部用 DV 拍摄的伪纪录片作品，导演姚易彤和张岚寓在其中探索了不同的视角与叙事视点。面对生活的压力，旦旦与玉玉透过彼此的镜头，共同追寻那个神秘的“跟踪者”，DV 成为了她们搜集证据、观察世界的最佳“监视武器”。在不 断的拍摄与剖析中，她们渐渐捕捉到许多微妙的线索与细节，直到“跟踪者”的出现引发了她们对“黄瓜”的思考，再次触动了内在的意识。所有不可思议的点，静悄悄地串联了起来，她们突然意识到：原来我们并非这个世界上的人类。就在那一刻，两人共同觉醒，回归本体。 　　“它本身有一种游戏精神在里面，所以非常放松，但实际上它会讲非常本质的东西。它不是纪录片，是设计很完整的剧情片，一点点就引出来后面女性身体的打开，所以很棒。”——马林（码头电影｜声色场所 策展人） 　　Yuyu feels someone is stalking her, so she asks her friend Dandan to help film evidence. 　　This is a mockumentary shot on DV, in which director TiaoTiao Yao and Alice Zhang explore shifting perspectives and narrative viewpoints. Faced with the pressures of daily life, Dandan and Yuyu turn their cameras on each other in search of the mysterious “stalker.” The DV becomes their ultimate “surveillance weapon” for collecting evidence and observing the world. Through continuous filming and analysis, they gradually uncover a series of subtle clues and details, until the appearance of the “stalker” sparks a reflection on cucumbers—once again stirring something deep within. All these seemingly disconnected, improbable fragments quietly link together, leading them to the sudden realization: they are not human beings of this world. In that moment, the two awaken together, returning to their true forms. 　　“It carries a playful spirit at its core, making it feel very relaxed, yet it explores something truly essential. It isn’t a documentary; it’s a carefully structured narrative piece that gently leads to the opening up of the female body—which makes it brilliant.” 　　— Ma Lin (Curator, Matou Film | Shengse Space)

玉玉总觉得有人跟踪她，找来好朋友旦旦帮她拍摄取证的故事。 　　这是一部用 DV 拍摄的伪纪录片作品，导演姚易彤和张岚寓在其中探索了不同的视角与叙事视点。面对生活的压力，旦旦与玉玉透过彼此的镜头，共同追寻那个神秘的“跟踪者”，DV 成为了她们搜集证据、观察世界的最佳“监视武器”。在不 断的拍摄与剖析中，她们渐渐捕捉到许多微妙的线索与细节，直到“跟踪者”的出现引发了她们对“黄瓜”的思考，再次触动了内在的意识。所有不可思议的点，静悄悄地串联了起来，她们突然意识到：原来我们并非这个世界上的人类。就在那一刻，两人共同觉醒，回归本体。 　　“它本身有一种游戏精神在里面，所以非常放松，但实际上它会讲非常本质的东西。它不是纪录片，是设计很完整的剧情片，一点点就引出来后面女性身体的打开，所以很棒。”——马林（码头电影｜声色场所 策展人） 　　Yuyu feels someone is stalking her, so she asks her friend Dandan to help film evidence. 　　This is a mockumentary shot on DV, in which director TiaoTiao Yao and Alice Zhang explore shifting perspectives and narrative viewpoints. Faced with the pressures of daily life, Dandan and Yuyu turn their cameras on each other in search of the mysterious “stalker.” The DV becomes their ultimate “surveillance weapon” for collecting evidence and observing the world. Through continuous filming and analysis, they gradually uncover a series of subtle clues and details, until the appearance of the “stalker” sparks a reflection on cucumbers—once again stirring something deep within. All these seemingly disconnected, improbable fragments quietly link together, leading them to the sudden realization: they are not human beings of this world. In that moment, the two awaken together, returning to their true forms. 　　“It carries a playful spirit at its core, making it feel very relaxed, yet it explores something truly essential. It isn’t a documentary; it’s a carefully structured narrative piece that gently leads to the opening up of the female body—which makes it brilliant.” 　　— Ma Lin (Curator, Matou Film | Shengse Space)

The first of a trilogy of ‘dance’ films (followed by The Bamboo Flute and the as-yet unreleased Priye Charushile), Bhavantarana expands on some of the modes Shahani had first explored in Khayal Gatha. The dance form is the famous Odissi, a form in Orissa that emerged from an earlier folk mode typically performed by young boys. The dancer is one of India’s leading figures, Guru Kelucharan Mahapatra. The film begins with a traditional sculptor hewing a dancer’s image from a piece of stone that he holds down with his feet, expanding from there to links from dance to sculpture, and from folk to classical forms. While several dances come from Mahapatra’s traditional repertory, the finale – the spectacular Navarasa – is choreographed specially for the film.

The first of a trilogy of ‘dance’ films (followed by The Bamboo Flute and the as-yet unreleased Priye Charushile), Bhavantarana expands on some of the modes Shahani had first explored in Khayal Gatha. The dance form is the famous Odissi, a form in Orissa that emerged from an earlier folk mode typically performed by young boys. The dancer is one of India’s leading figures, Guru Kelucharan Mahapatra. The film begins with a traditional sculptor hewing a dancer’s image from a piece of stone that he holds down with his feet, expanding from there to links from dance to sculpture, and from folk to classical forms. While several dances come from Mahapatra’s traditional repertory, the finale – the spectacular Navarasa – is choreographed specially for the film.

奥卡菲娜将与Topic影业合作开发一部取材自Topic.com文章《中国食物如何助长加州朋克崛起》(How Chinese Food Fueled the Rise of California Punk，暂译)的未命名影片。奥卡菲娜将身兼主演和制片人于一身。剧本由玛德琳·梁·科尔曼执笔，原文探讨了上世纪70年代末、80年代初美国经济衰退期间，从萨克拉门托到旧金山的唐人街餐馆开始租借它们的宴会厅作为排练厅，并签下新生的西海岸朋克乐队作为晚餐娱乐项目，以此扩展业务。

奥卡菲娜将与Topic影业合作开发一部取材自Topic.com文章《中国食物如何助长加州朋克崛起》(How Chinese Food Fueled the Rise of California Punk，暂译)的未命名影片。奥卡菲娜将身兼主演和制片人于一身。剧本由玛德琳·梁·科尔曼执笔，原文探讨了上世纪70年代末、80年代初美国经济衰退期间，从萨克拉门托到旧金山的唐人街餐馆开始租借它们的宴会厅作为排练厅，并签下新生的西海岸朋克乐队作为晚餐娱乐项目，以此扩展业务。

中国在现代化的大道上狂奔，取得了耀眼夺目的成就。 　　我们把镜头聚焦在一个努力摆脱贫困的少女及其家庭上。6年前，河南少女带着对未来的期待离家外出打工，无论对少女还是家人来说，这是巨变的开始。在时代浪潮面前，少女小小梦想是否从手中滑落？现实让一个家庭分居在城市和农村，他们经受了哪些喜悦与辛酸？饱经艰辛的农村少女及其家人的6年，让我们以此来聚焦巨变中的中国。

中国在现代化的大道上狂奔，取得了耀眼夺目的成就。 　　我们把镜头聚焦在一个努力摆脱贫困的少女及其家庭上。6年前，河南少女带着对未来的期待离家外出打工，无论对少女还是家人来说，这是巨变的开始。在时代浪潮面前，少女小小梦想是否从手中滑落？现实让一个家庭分居在城市和农村，他们经受了哪些喜悦与辛酸？饱经艰辛的农村少女及其家人的6年，让我们以此来聚焦巨变中的中国。

潛水，被世人定義為高危活動之一；節目為了打破大家固有觀念，邀請了一般人認為他們不會去潛水的人士，包括：細膽的、身體肥胖的、沒有自信的，甚至是殘障的，由零開始去學習，過程之中看著他們互相扶持，如何克服自己的弱點，完成指定目標。

街头大屏幕上昔日伙伴们的飒爽英姿，令现如今屈居英雄团队二线的巴纳比·布鲁克斯·Jr.（森田成一 配音）心里颇有不爽，而他的搭档Wild Tiger镝木·T·虎彻（平田广明 配音）却似乎分外享受当前这个宽裕闲适的生活。未过多久，他们所在的阿波罗公司因财政问题重组，实业家马克·施耐德（大冢芳忠 配音）入主并执掌大权，他将巴纳比带回一线，却摒弃了虎彻，更进一步砍掉二线的超级英雄队伍。与此同时，接二连三的神秘事件在休特尔比尔特市发生，似乎有其他的NEXT能力者正试图再现女神裁决的古老传说。 　　离裁决之日越来越近，城市内所有人的命运都危在旦夕。巴纳比和虎彻他们将经历最严峻的考验……