讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

一个女人与她的椅子的故事。

年迈的兽医扬先生试图为自己牢笼般的婚姻找寻一条合适的出路，而他岳父的死亡成为压死骆驼的最后一根稻草。他岳父曾和他一样同婚姻做斗争。他岳母现在成了一名寡妇，但仍然主宰着一切事务。扬先生的妻子奥尔加也坚信是她主宰着他们二人的幸福，因此扬先生越来越怕自己步岳父的后尘。他不断用越发奇怪的方式去释放自己，甚至选择去进行一场荒谬又不自在的冒险，最终他发现即使实现了理想中的自由，但一切并没有那么简单。

年迈的兽医扬先生试图为自己牢笼般的婚姻找寻一条合适的出路，而他岳父的死亡成为压死骆驼的最后一根稻草。他岳父曾和他一样同婚姻做斗争。他岳母现在成了一名寡妇，但仍然主宰着一切事务。扬先生的妻子奥尔加也坚信是她主宰着他们二人的幸福，因此扬先生越来越怕自己步岳父的后尘。他不断用越发奇怪的方式去释放自己，甚至选择去进行一场荒谬又不自在的冒险，最终他发现即使实现了理想中的自由，但一切并没有那么简单。

刚从大学毕业的Mon在一家大公司实习，她很崇拜Sam，这位年纪轻轻就成为超级富豪的女总裁。然而，当Mon近距离接触到Sam时，完全颠覆了她心中的想象，因为真正的她并不像媒体所展示的那样。

生活步调平凡的史提芬，自从生命中的最爱女友，意外丧命于随机杀人事件后，潜藏在他心底的暴力与怪异行为，开始无法控制的展现；某晚，正当史蒂芬计划下一起杀人案时，由屋顶跳楼自杀失败，跌入并压破史蒂芬车顶的帕西瓦，不仅成功扰与阻止了史提芬的计划，并相信是命运带领两人相遇，甚至聘请史提芬协助自己的自杀计划。 　　毫不相信命运的史提芬，虽然觉得帕西瓦所言极其荒谬，但仍欣然接受了约聘邀请，协助展开一连串的「自杀行动」，却总是会在关键时刻出了差错，让帕西瓦「死不成」；史提芬渐渐开始相信，这或许真如命运的魔咒，引领着史提芬与帕西瓦，形成一种特殊的友谊关系。

由三个不同小说故事组成，讲述关于爱的不同观点的三个不同故事 　　【诱惑理论】一个叫孔波德的学生和他即将毕业的大四学生拉哈特一见钟情。他试图说服他不要永远失去他。许多障碍等待着，将能为他对拉哈特的爱而战？ 　　【命运理论】塔万相信命运。一天，他在书店遇到一个害羞的家伙Meth。几 天过去了，他在不同的地方见过他三次场景。当这两个人不再是陌生人时会发生什么？ 　　【二分之一理论】 对于阿泰来说，幸福在于做自己。如果他找不到能适应他的人，还是一个人好。如果他找到了他的另一半普拉布会怎么样？ 　　Three different stories about different opinions about love. 　　1) A student named Konpord fall in love at first sight with his graduating senior, Rahat. And he tries to woo him not to lose him forever. Many obstacles await, will be able to fight his love for Rahat? 　　2) Tawan believes in destiny. One day, he meets a shy guy, Meth at the bookstore. Days passed by, he met him thrice in different scenarios. What will happen when these two men are no longer a stranger? 　　3) For Thai, happiness lies within being himself. If he can’t find someone who can adapts for him, it’s better to be alone. What will happen if he found Prab, his other half?

《全面理论》以图书馆为背景创建了一个虚拟空间，同时以“线索”的形象贯穿全片。图书馆作为秩序象征，包含人类对知识的收集与整理，而线条形态所组成的各种结构，包括绳结与网络，则具备了混乱和秩序的双重可能性。图书、绳索、地球仪、沉睡的阿里阿德涅雕像，这些形象的结合与张力，暗示着人们在信息网络中找寻方位。