The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

1937年秋，上海沦陷前夕，“亚洲第一香”的花城汪公馆陷入前所未有的迷茫与恐惧，汪太太和丈夫汪大酉预感花城将成地狱，要将儿女送出城去。汪家少爷汪立伦和三位妹妹却因种种原因不想出城，一时迷雾重重，凶险四伏。汪立伦对身边的凶险毫不知情，充满幻想，要拍一部爱情电影。为应付汪太太和汪大酉包办的婚姻，他逼御香坊女工黄喜喜当他的契约女友，两人后来假戏成真，由憎生爱。他发现偶像明星王琦儿是汪大酉的“情人”汪太太口里的“狐狸精”，痛苦不堪，大病一场后在喜喜感召下振作起来。不想导演请来的女一号竟是王琦儿，经过种种磨擦后才消除误解。原来王琦儿是中共地下组织的人，接近汪立伦进入汪公馆也是党的任务。汪太太是御香坊传人，深具炼香天赋，曾赴日深造，被卷入日军阴谋。她在霍医生催眠下，可怕的记忆渐渐苏醒，成了她心里的“伤疤”。

婚姻、事业不如意的老同学在派对重聚，二人将怒气撒在对方身上，引发一场史诗般的女斗。

婚姻、事业不如意的老同学在派对重聚，二人将怒气撒在对方身上，引发一场史诗般的女斗。

A guy who is into ska music, finds himself fascinated by Thai traditional music after meeting a great Thai traditional music songwriter and getting involved in a Thai traditional music rivalry.

一起离奇涉毒命案的发生，牵出三年前那桩尚未侦破的毒品悬案。关天航（王千源 饰）因此重回禁毒支队，他和专案组同事一同抽丝剥茧，决心找出幕后真凶。在查案期间，关天航与失联十年的老邻居原月心（蒋欣 饰）意外重逢，而她竟也陷入了这起迷雾重重的缉毒悬案里。