In 2011, the Taiwanese artist presented his play Only You, in which the character of the medieval Buddhist monk Xuanzang slowly walks across the stage for half an hour. This scene inspired him to shoot short films that contrast the slowness of walking with the speed of the surrounding events. The first of these, No Form, was shot on the streets of Taipei and revels in the duality of time and space, humorously punctuated by Nina Simone's song Feeling Good.

The key elements of electronics, such as semiconductors and display components, are produced in “clean rooms,” which are spaces where environmental conditions, including dust, are controlled. However, workers in these clean and sanitized spaces are often exposed to chemicals that are seriously hazardous to their health. Unlike immediate catastrophes, diseases caused by the accumulation of chemicals often go unnoticed and develop slowly over generations. 　　What was that sour-yet-sweet odor? Does "clean" mean that it only maximizes production stability while being far from body safety? Ironically, it is only the memories of the bodies and the faint smells of the substances passing through the clean rooms that prove the invisible toxicity and dangers of these cutting-edge technology sites. 　　Colorless Odorless follows the work records and archival materials of victims of semiconductor biohazards to trace the smells and actions of substances that cameras cannot capture. To this end, the voices of Asian women and migrant workers, who are exposed to vulnerability, are heard. Testimonies of the past are overlaid on current symptoms, and the disaster repeats itself in other bodies and places. As multinational corporations move manufacturing plants to developing countries to lower not only labor costs but also the costs of safety standards and regulatory responses, industrial disasters are also globally transferred. 　　Perhaps the future is not an abstract number, but something intertwined with specific bodies and matter. As high-tech industries lead the way in the globalization of risk and exploitation in increasingly outsourced workplaces, Colorless Odorless attempts to map out the terrain of solidarity among victims, activists, and workers' unions in the face of these risks and exploitation. (Written by Shinjae Kim, producer)

* 此篇乃是制作动画小组自行产出的剧情，并非原作者和月的构想。 星霜篇故事发生于人诛篇约十多年后，晚年的剑心与神谷薰同患上不治之症，剑心在甲午战争（日本称为“日清战争”）时于中国失去记忆，最后左之助找到他并助他回到日本，最后剑心死于神谷薰的怀抱之中。故事前半主要以神谷薰的视点描述与剑心的往事，其间亦加插了少量人诛篇的回忆画面。

莱昂（安东尼·拉帕格利亚 Anthony LaPaglia 饰）人到中年，和妻子索尼娅（凯瑞·阿姆斯特朗 Kerry Armstrong 饰）之间的关系早已经十分疏远，名存实亡。家庭之外，莱昂有着一位交往甚密的情人简（蕾切尔·布雷克 Rachael Blake 饰），在简那里，莱昂能够短暂的找回自信和激情。 　　索尼娅察觉到了丈夫的异样，但是她选择将一切的愤怒和痛苦隐藏在心底。心理治疗师瓦莱丽（芭芭拉·赫希 Barbara Hershey 饰）是索尼娅的树洞，常常开导和安危她，可是，瓦莱丽也必须面对自己内心里的黑洞——她的女儿成为了一场谋杀案中的受害者，她至今无法从失去女儿的悲痛之中走出来。某日，瓦莱丽突然失踪了，莱昂对她的下落展开了调查。

这部电影围绕两位主角，阿雄（武俊越）饰，阿皇（阮清秀）饰。阿皇从一个家境优越的环境中长大，而阿雄则是被这个家庭收养的孩子。他们一起长大，兄弟之情渐渐地转变为同志间的爱情。接受不了自己孩子是同志，母亲燕（金庆）饰，变得惊慌失措，绝望而失去理智，最终导致了家庭悲剧的发生。 　　除了情感触动之外，这部电影在拍摄和音乐制作方面也是一大突破，取景地位于越南大叻，被誉为“爱情天堂”的这个城市也为电影增添了满满的浪漫色彩。 　　中文预告：http://v.qq.com/boke/page/s/0/p/s0150k7ex5p.html 　　主题曲《我亲爱的人啊》MV：http://v.qq.com/boke/page/b/0/j/b01508rhf5j.html

这部电影围绕两位主角，阿雄（武俊越）饰，阿皇（阮清秀）饰。阿皇从一个家境优越的环境中长大，而阿雄则是被这个家庭收养的孩子。他们一起长大，兄弟之情渐渐地转变为同志间的爱情。接受不了自己孩子是同志，母亲燕（金庆）饰，变得惊慌失措，绝望而失去理智，最终导致了家庭悲剧的发生。 　　除了情感触动之外，这部电影在拍摄和音乐制作方面也是一大突破，取景地位于越南大叻，被誉为“爱情天堂”的这个城市也为电影增添了满满的浪漫色彩。 　　中文预告：http://v.qq.com/boke/page/s/0/p/s0150k7ex5p.html 　　主题曲《我亲爱的人啊》MV：http://v.qq.com/boke/page/b/0/j/b01508rhf5j.html

自认自己很聪明的霜精灵向它认为呆头呆脑的霜精灵发难：知道什么在响吗？见对方没反应，它生气地说：我的左耳朵！这表明人们在说我们霜柱的坏话，他们不喜欢我们。这时又有声音传来，它再问同伴，对方说是它的左耳朵，恼得它摇头又叹气：那是雪橇声！ 　　两只霜精灵应声前往，看见一个老人和一个胖子正朝相反的方向赶路，“聪明”的那只计上心来，和“呆脑”的那只商量要让两人吃些苦头，并挑了那个看起来比较好对付的老人。结果，“呆脑”的霜精灵把胖子搞感冒时，它正在被老人用雪橇使劲地抽打。