卡拉在台北得知西班牙的兒時玩伴的死，記憶如幽靈般地尾隨著她，直到她遇上一個想拋開過往，到西班牙尋找未來的台灣少年。

卡拉在台北得知西班牙的兒時玩伴的死，記憶如幽靈般地尾隨著她，直到她遇上一個想拋開過往，到西班牙尋找未來的台灣少年。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

一个正在客栈里康复的军方护士因精神崩溃而不断做梦，梦中她看到两个男人试图谋杀第三个人。当她在客栈里遇到一个联邦探员，她惊奇地发现，他就是她梦中的那个男人。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

在影视行业看似蓬勃发展的今天，越来越多的年轻人梦想着能拿到这行业的“通行证”，让理想的自己在台前幕后发光发热，而他们是如何从无人问津到走在聚光下，从默默无闻到做出一番成绩的？ 　　首次执导电影的85后女导演和她的团队，初出茅庐的90后新人演员，加上有限的摄制周期和成本，拍电影这件事真的有看起来那么简单？此片讲述了一班热爱电影的年轻人在拍摄电影过程中的酸甜苦辣，在舒展个性中磨平棱角，为电影梦想执着奋斗的故事。