失业的编剧生活窘迫，为了父母给的100美元津贴，她和家人一起去度假，就此卷进了一系列家庭冲突之中。本片是加拿大导演路易斯·代·德菲利皮斯自编自导的长片处女作，敏锐细腻地表现代际冲突和亲人之间愉悦温暖的日常。爆炸脾气的母亲和松弛的父亲是熟悉的家庭场景，主角以超脱剧情中心的方式，融入在了家庭之中。荣获2022年圣塞巴斯蒂安国际电影节塞巴斯蒂安奖最佳影片奖、2023年鹿特丹国际电影节青年评审奖。

Double-Blind is a conceptual video work originally released in Europe as a feature film. In this voyeuristic examination of intimacy and identity, French conceptual artist Sophie Calle is joined by her collaborator and partner, Gregory Shephard. Armed with camcorders while cruising west across the United States in Shephard’s Cadillac, they produced and documented a real-life narrative of their journey — and their relationship. In this unconventional coast-to-coast road movie, America is the backdrop for Calle and Shephard’s strikingly different versions of their experiences. 　　The protagonists chronicle a landscape of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is subtly lured into reviewing the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout this personal exploration Calle seeks to redefine the terms and parameters of subject/object, public/private, truth/fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　Double-Blind 　　by Sophie Calle and Gregory Shephard 　　1992, 75:58 min, color, sound 　　In her premiere video project, French conceptual artist Sophie Calle joins with Gregory Shephard to create a voyeuristic tour de force. Armed with camcorders, Calle and her collaborator/partner Shephard head West in his Cadillac convertible to produce and document a real-life narrative of their journey and their relationship. With America as the backdrop for this unconventional coast-to-coast road movie, Calle and Shephard each narrates and records a personal diary, presenting strikingly different versions of the narrative/relationship. Aiming their dueling camcorders, the protagonists chronicle the elusive landscapes of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is challenged to reconsider the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout, Calle seeks to redefine through personal investigation the terms and parameters of subject/object, public/private, truth, fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　索菲·卡莱(Sophie Calle)1953年生于法国巴黎，现仍在巴黎居住。 　　索菲·卡莱的早期作品采用了寄生的方法，试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年，她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”，她经常暗中跟踪陌生人，监视她们，询问她们，让她们无意识地加入到她的游戏与故事中，如 1980年创作的“布朗克斯（Le Bronx）”、“威尼托的人（Suite venetienne）”、“自传（Autobiographies）”。1981年创作的“旅馆（Hotel）”、1983年创作的“证件（Le Carnet）”、1984年创作的“阿纳托里（Anatoli）”、1986年创作的“盲人（Les Aveugles）”、1990年创作的“坟墓（Les Tombes）”和1991年创作的“色盲（Color Blind）”。为了产生一种富有诗意的朦胧的效果，她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活，创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除（Die Entfernung-The Detachment）”中，她提供给我们一种重新收集回忆的过程，并将它视为艺术创作的形式。在原东柏林期间，卡莱曾经将许多社会主义的纪念性建筑物拍摄下来，柏林墙推倒之后，这些纪念物也相继被毁。此后，卡莱又重返故地，采访了曾经与这些建筑为邻的居民，记录下他们对往事的回忆与感想。在展览上，卡莱将照片与采访的录音并置，主观与客观相互补充，产生了非常好的效果。

Double-Blind is a conceptual video work originally released in Europe as a feature film. In this voyeuristic examination of intimacy and identity, French conceptual artist Sophie Calle is joined by her collaborator and partner, Gregory Shephard. Armed with camcorders while cruising west across the United States in Shephard’s Cadillac, they produced and documented a real-life narrative of their journey — and their relationship. In this unconventional coast-to-coast road movie, America is the backdrop for Calle and Shephard’s strikingly different versions of their experiences. 　　The protagonists chronicle a landscape of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is subtly lured into reviewing the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout this personal exploration Calle seeks to redefine the terms and parameters of subject/object, public/private, truth/fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　Double-Blind 　　by Sophie Calle and Gregory Shephard 　　1992, 75:58 min, color, sound 　　In her premiere video project, French conceptual artist Sophie Calle joins with Gregory Shephard to create a voyeuristic tour de force. Armed with camcorders, Calle and her collaborator/partner Shephard head West in his Cadillac convertible to produce and document a real-life narrative of their journey and their relationship. With America as the backdrop for this unconventional coast-to-coast road movie, Calle and Shephard each narrates and records a personal diary, presenting strikingly different versions of the narrative/relationship. Aiming their dueling camcorders, the protagonists chronicle the elusive landscapes of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is challenged to reconsider the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout, Calle seeks to redefine through personal investigation the terms and parameters of subject/object, public/private, truth, fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 　　索菲·卡莱(Sophie Calle)1953年生于法国巴黎，现仍在巴黎居住。 　　索菲·卡莱的早期作品采用了寄生的方法，试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年，她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”，她经常暗中跟踪陌生人，监视她们，询问她们，让她们无意识地加入到她的游戏与故事中，如 1980年创作的“布朗克斯（Le Bronx）”、“威尼托的人（Suite venetienne）”、“自传（Autobiographies）”。1981年创作的“旅馆（Hotel）”、1983年创作的“证件（Le Carnet）”、1984年创作的“阿纳托里（Anatoli）”、1986年创作的“盲人（Les Aveugles）”、1990年创作的“坟墓（Les Tombes）”和1991年创作的“色盲（Color Blind）”。为了产生一种富有诗意的朦胧的效果，她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活，创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除（Die Entfernung-The Detachment）”中，她提供给我们一种重新收集回忆的过程，并将它视为艺术创作的形式。在原东柏林期间，卡莱曾经将许多社会主义的纪念性建筑物拍摄下来，柏林墙推倒之后，这些纪念物也相继被毁。此后，卡莱又重返故地，采访了曾经与这些建筑为邻的居民，记录下他们对往事的回忆与感想。在展览上，卡莱将照片与采访的录音并置，主观与客观相互补充，产生了非常好的效果。

10月6日播出的5分钟泡面番动画《女高中生给你做饭了（JKめし！）》，主要围绕着3名性格各异的女高中生和廉价料理展开故事情节。

江美珊和田川从高三补习班开始就是好朋友，各种阴差阳错让他们一直没能将心中的感情说出口，所以五年来一直维持着好朋友的关系。终于有一天两人勇敢表达了心中爱意，从好朋友变成了恋人。恋爱后的江美珊和田川，与其他小情侣一样，也遇到了各种各样的问题：女朋友的时保联、前男友的电话、前女友的挑逗，他们该如何面对这些问题呢？

冈山天音在剧中饰演宅男五月拓海，在游戏中玩女性角色，邀请游戏中的小伙伴吾郎合租房子，却不知现实中五郎的玩家是可爱女生冈元美弥子，于是两人就开始…

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

没有家，没有食物，也没有水……女高中生4人组，在不知何处的无人岛上陷入遭难的大危机！原本是这样的，但她们都相当有精神！因为一无所有，所以什么都可…

“即使时代变了，人类对爱情的心意也不会改变”是一部纯情漫画般的浪漫爱情影片，成勋将担任片中的同名主人公“成勋”，是经营咖啡店的魅力咖啡师，在美国长大的他在喜欢的女生面前连打招呼都说不出口，是认为工作时就工作，恋爱时就恋爱的纯粹的韩国男人，但是，后半段将诠释陷入爱河的男人的悸动的心和热情。