被形容为“当《堤》遇上《爱乐之城》”的这部影片聚焦在香港的菲佣社群，试图展现她们在工作之外的个人生活。主人公H梦想着能离开香港、与同性伴侣共同生活，导演通过将照片与舞蹈场景结合在一起的形式，邀请观众感受这群女性受到的禁锢，以及她们通过跳舞而重获的自由。

被形容为“当《堤》遇上《爱乐之城》”的这部影片聚焦在香港的菲佣社群，试图展现她们在工作之外的个人生活。主人公H梦想着能离开香港、与同性伴侣共同生活，导演通过将照片与舞蹈场景结合在一起的形式，邀请观众感受这群女性受到的禁锢，以及她们通过跳舞而重获的自由。

讲了美国的摩托车文化。

1996年的春节，庄树和父亲庄德增意外撞见摆摊的大林父子，看到了另一种生活的窘迫;临去时庄树吹响小号，嘹亮地奏鸣了新的一年。

农历新年真实的集体梦境——六个乘客登上隔离列车，海上旅途中向路过的渔船阿伯买野生鱼吃。终于隔离结束下了船，那晚他们与朋友狂欢一夜。隔天醒来却都变成了孤岛上的山羊……下大雪那天我们在外面溜达和过年那几天我们在一起生活。隔离与滞留，红黄绿色的生活，与更缤纷的关于生活的标语。灯光无非就是白光暖光暖白光嘛，但你看，任何一栋居民楼竟找不到相邻的灯光是完全一样的；因此，当我看到片子里想动的地方刚好被前人动了的时候，那种默契的亲近感短促地超越了所有身份和前提。 　　五位/组参与者，抽签决定次序，每人/组有48小时接力时间完成剪辑和上传，传至下一位，十天为一轮。休息，重新抽签后再进行一轮。2022年1月17日启动，两轮结束（2月7日）后，经由共同讨论、自愿认领翻译和上字幕成片。 　　参与者与次序： 　　张子木、冯喆&潘赫、万青、陈嘉璐、钟慧侦 　　张子木、陈嘉璐、冯喆&潘赫、万青、钟慧侦 　　Born to Fear? 　　Theater 44 Collective Video Editing Project Vol. 2 　　A real collective dream of the Lunar New Year - six passengers board the quarantine train, and buy wild fish to eat from a passing fishing boat during the sea journey. Finally the quarantine ended, they get off the ship, partied with friends all that night. The next day, they wake up and find out all of them become goats on an isolated island ...... on the day of heavy snow, we skipped outside, we lived together during those days of Lunar New Year. Isolation and stagnation, red, yellow and green daily life, and more colorful slogans about life. The lights are just white light, warm light and warm white light, well, but you see, any residential building can't even find adjacent lights are exactly the same; therefore, when I see the footage that I want to edit has been done by former persons, that tacit intimacy shortly transcends all identity and premise. 　　A total of five participants/groups are drawn in order, with each person/group having a 48-hour relay to complete editing and uploading before the next person takes their turn, in a ten-day round. After that there is be a break and a redraw for another round. The first round starts on January 17, 2022, and the video is finished after two rounds (February 7), a discussion session, and voluntary labor of translating and subtitling. 　　First Round: Zhang Zimu, Feng Zhe & Pan He, Wan Qing, Chen Jialu, Zhong Huizhen 　　Second Round: Zhang Zimu, Chen Jialu, Feng Zhe & Pan He, Wan Qing, Zhong Huizhen

刘宏曾在电影制片厂工作，如今赋闲在家。老邻居陆续搬走，单位拆迁即将改建商圈，好友意外离世，让他面临生活的烦恼，正当他和妻子决定要搬离旧居时，妻子意外受伤，让他改变了，重新获得了生活的动力。

爱丽斯·罗伯茨教授身怀着她的第二个孩子，她想在他出生之前探索“人之为人”这个问题。人类基因中有99%的部分是与黑猩猩相同的；然而从出生的那一刻起，人类的生活就完全不一样。所以，人类是否仅仅是一个普通的物种，抑或人类有特殊之处？ 爱丽斯教授探索了我们的身体结构、我们的基因、以及最终我们的大脑，试图发现什么终究造就了人类。

1969年，33岁的未来名监督 若松孝二（井浦新），热衷于粉红电影的制作，此时，一位少女（麦）敲开了若松制作公司的门，两人开始一起製作电影，青春、电影，还有爱情，一出青春群像剧就此展开。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.