Considering the underground as both a metaphor and a manifest reality, Zheng’s film Sinking Latitude focuses on a myth about underground flooding. The city where the story takes place has a history of salt mining that spans more than 2000 years, and generations of residents who have lived there have passed down a prophetic myth for centuries–that due to excessive mining, the city's underground has long been hollowed out and depleted, filling with salty brine, and that one day, when an earthquake occurs, an underground flood of salty liquid, the mine itself, will surge out and engulf the city. 　　Zheng’s film takes the form of a fictional dialogue between three characters—puppy, master, and dinosaur—as they discuss this myth. The master has lost their memory of the flood myth, and the puppy takes on the task of recovering this memory with the help of the dinosaur, who represents the impact of time on reality. Through their conversations and questions, the group begins to uncover how the fear of an unknown disaster has affected their perception of the world. The film traverses different locations, making the underground visible, and providing views of cityscapes, a site of dinosaur fossils, salt wells, an abandoned salt factory and its residencies, and sequences of miners using archaic techniques within a salt mining museum, at once performing and working. The landscape is viewed as a perforated body that is littered with debris and risk, with the wells at once towering and deeply rooted in the ground. This documentary-like footage is integrated with scenes shot in the studio or borrowed from the internet, as well as black and white still images of dinosaur bones, and animated footage of the puppy and flooded underground landscapes implying the oncoming future. Indeed, Sinking Latitude continuously crosses temporalities, merging deep time with lived time, recalling past events while also reflecting on relationships in the present, and nervously discussing the uncertain catastrophe that lies ahead. Imagining a hollow and flooded world of liquid salt, Zheng’s film fractures notions of time, agency, and visibility, charting both a feeling of groundlessness, and a fluid bond between geology, biology, and biography. The narrative certainly prompts a reflection on the increasing climate catastrophe and apocalyptic thinking, yet it is more a rumination on time and places where myths, identities, and communities come together, where memories are formed, congealed, and concretized, and realistic fears are displaced as stories. Here, myth is shown to be intimately tied to memory, not only a personal or collective, but also primeval and hydrological.

全片以环保电影为基调，却能够重新扩展出一个崭新的视角。片中定睛注视三个即将因暖化现象而消失的美丽岛屿：太平洋上的吐瓦鲁，纯朴却丰富的常民生活；欧洲水都威尼斯，淹水时仍然营运的旅馆、酒吧，如同幻梦；以及美洲阿拉斯加的冰上山崖。镜头对地球上难以置信的美景和迥异的文化仪式，深致赞美与叹惋。跳脱环保纪录片的格局，充满省思与诗意。

全片以环保电影为基调，却能够重新扩展出一个崭新的视角。片中定睛注视三个即将因暖化现象而消失的美丽岛屿：太平洋上的吐瓦鲁，纯朴却丰富的常民生活；欧洲水都威尼斯，淹水时仍然营运的旅馆、酒吧，如同幻梦；以及美洲阿拉斯加的冰上山崖。镜头对地球上难以置信的美景和迥异的文化仪式，深致赞美与叹惋。跳脱环保纪录片的格局，充满省思与诗意。

冰川融化引发极端洪水，快速侵蚀使断层松动，导致地震和大规模海啸。随着北美下沉，科学家们正在争分夺秒地建造污水坑，以平衡水位。

冰川融化引发极端洪水，快速侵蚀使断层松动，导致地震和大规模海啸。随着北美下沉，科学家们正在争分夺秒地建造污水坑，以平衡水位。

丁凯的父亲是群星皮鞋厂的副厂长，眼看着儿子到了谈婚论嫁的年龄，老爷子强行拉着丁凯，为他安排了和售货员田翠的相亲。对田翠本人，丁凯并没有多大的兴趣，但是田翠脚上所穿的款式新颖的皮鞋吸引了丁凯的注意，与此同时，田翠也发现，虽然丁凯是皮鞋厂的公子，但是他所穿的鞋款式早已经过时了。 　　丁凯和田翠想说服老爷子退出新款式的皮鞋，然而故步自封的老爷子并没有理会两人的建议。随着时间的推移，田翠渐渐喜欢上了踏实肯干的丁凯，可是丁凯却给田翠的好友莎丽写起了情书，三人就此陷入了剪不断理还乱的关系之中。

丁凯的父亲是群星皮鞋厂的副厂长，眼看着儿子到了谈婚论嫁的年龄，老爷子强行拉着丁凯，为他安排了和售货员田翠的相亲。对田翠本人，丁凯并没有多大的兴趣，但是田翠脚上所穿的款式新颖的皮鞋吸引了丁凯的注意，与此同时，田翠也发现，虽然丁凯是皮鞋厂的公子，但是他所穿的鞋款式早已经过时了。 　　丁凯和田翠想说服老爷子退出新款式的皮鞋，然而故步自封的老爷子并没有理会两人的建议。随着时间的推移，田翠渐渐喜欢上了踏实肯干的丁凯，可是丁凯却给田翠的好友莎丽写起了情书，三人就此陷入了剪不断理还乱的关系之中。

1944年，二战已接近尾声，在东部的苏德战场上，红军为了摧毁法西斯的最后抵抗，派出了以特拉夫金中尉（Igor Petrenko 饰）为首的七人侦察队，他们将要深入敌后，去摸清敌人的兵力部署。这次凶险的任务已经导致多名战士牺牲，但勇敢的侦察队员们毅然出发了，临行前，特拉夫金与通信兵卡佳（Yekaterina Vulichenko 饰）约定，用“星星”和“大地”作为彼此在电波中联络的暗号。侦察队顺利的潜入敌后，并陆续传回有价值的情报，意识到侦察队威胁的德军方面如临大敌，派出重兵封锁交通，导致侦察队蒙受巨大损失。特拉夫金面对失去战友跟电台的局面，却决定继续前行，完成自己最后的任务…… 　　本片获2002年翁弗勒尔俄罗斯电影节大奖等多项褒奖。