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 Flicker is a 1966 American experimental film by Tony Conrad. The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame. It changes the rate at which it switches between black and white frames to produce stroboscopic effects. 　　Conrad spent several months designing the film before shooting it in a matter of days. He produced and distributed The Flicker with the help of Jonas Mekas. The film is now recognized as a key work of structural filmmaking.

The Flicker is a 1966 American experimental film by Tony Conrad. The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame. It changes the rate at which it switches between black and white frames to produce stroboscopic effects. 　　Conrad spent several months designing the film before shooting it in a matter of days. He produced and distributed The Flicker with the help of Jonas Mekas. The film is now recognized as a key work of structural filmmaking.

A forbidding soundtrack of horns and distorted noise sets the scene for Ross Meckfessel’s Spark from a Falling Star, where shots of grocery store parking lots and dimly lit suburban roads breed atmospheres of low-level menace. At the other extreme, smooth digital renderings promise a shiny, spectral future utopia of clean lines and mirrored grids.

该剧讲述了以1960年代的韩国为时代背景，父亲去世和家族没落之后，从解放村克服困难生活的主人公最终实现了韩国最棒的时装设计师的梦想过程的故事。

A forbidding soundtrack of horns and distorted noise sets the scene for Ross Meckfessel’s Spark from a Falling Star, where shots of grocery store parking lots and dimly lit suburban roads breed atmospheres of low-level menace. At the other extreme, smooth digital renderings promise a shiny, spectral future utopia of clean lines and mirrored grids.

该剧讲述了以1960年代的韩国为时代背景，父亲去世和家族没落之后，从解放村克服困难生活的主人公最终实现了韩国最棒的时装设计师的梦想过程的故事。

该剧讲述具有音乐天赋的少年通过一家可疑的乐器店，迫降在陌生的空间，在那里遇到可疑的年轻人们一起组成了乐队"Water Melon Sugar"，而展开的幻想青春剧。

该剧讲述具有音乐天赋的少年通过一家可疑的乐器店，迫降在陌生的空间，在那里遇到可疑的年轻人们一起组成了乐队"Water Melon Sugar"，而展开的幻想青春剧。