专达利作品十年之久的画商，达利晚年唯一的邻居，独家揭秘：达利晚年雇人制作大量赝品，一生作品75％是伪作，艺术家与艺术商人发家黑幕……彻底颠覆你对艺术品市场的知识与想象！ 　　在这场没有真相的投资战争中，全世界都陷进了达利的骗局！ 　　艺术市场就像一个希望与其欺诈并存的马戏竞技场。劳里森斯为我们描绘了达利的详尽画像，这位翘胡子的“领班”怪异荒谬而又别出心裁，颐指气使而又魅力十足。

专达利作品十年之久的画商，达利晚年唯一的邻居，独家揭秘：达利晚年雇人制作大量赝品，一生作品75％是伪作，艺术家与艺术商人发家黑幕……彻底颠覆你对艺术品市场的知识与想象！ 　　在这场没有真相的投资战争中，全世界都陷进了达利的骗局！ 　　艺术市场就像一个希望与其欺诈并存的马戏竞技场。劳里森斯为我们描绘了达利的详尽画像，这位翘胡子的“领班”怪异荒谬而又别出心裁，颐指气使而又魅力十足。

"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists. 　　Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora. 　　With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés. 　　In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further. 　　By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence."

Luis Buñuel, pioneer of the purest surrealist cinema since "An Andalusian Dog" and although he wanted to abandon it after "The Golden Age", he maintained continuous references to surrealist postulates during his cinematographic career in Mexico and later in France and Spain. Buñuel never ceased to cultivate these principles that emerged from his childhood, elements that, like dreams, have formed part of his most basic creative pillars and shaped a large part of the singularity of his cinema. Buñuel's cinema, like Goya's paintings, is in the creative paths of filmmakers, but also of writers, painters and playwrights. This documentary will allow a new generation of young audiences to discover this universal filmmaker. Buñuel's vision remains provocative, as well as enhanced by his links with art and literature.

Luis Buñuel, pioneer of the purest surrealist cinema since "An Andalusian Dog" and although he wanted to abandon it after "The Golden Age", he maintained continuous references to surrealist postulates during his cinematographic career in Mexico and later in France and Spain. Buñuel never ceased to cultivate these principles that emerged from his childhood, elements that, like dreams, have formed part of his most basic creative pillars and shaped a large part of the singularity of his cinema. Buñuel's cinema, like Goya's paintings, is in the creative paths of filmmakers, but also of writers, painters and playwrights. This documentary will allow a new generation of young audiences to discover this universal filmmaker. Buñuel's vision remains provocative, as well as enhanced by his links with art and literature.

1934年，萨尔瓦多·达利(Salvador Dali)被他的超现实主义同僚以反对超现实主义运动的罪名受审。这部超现实的喜剧审视了这场审判以及导致审判的事件。

1934年，萨尔瓦多·达利(Salvador Dali)被他的超现实主义同僚以反对超现实主义运动的罪名受审。这部超现实的喜剧审视了这场审判以及导致审判的事件。

"「人求助於神，神幫助世人；人渴望神的力量，故而修煉成仙；人打破了自然的法則，最後甚至企圖超越了時間的界限。」 　　本片通过研究神话与现实社会之间的交叉关系试图站在过去与现在的角度去探讨未来。希望能藉此机会让观者重新审视神话与未来之间的关系，其实人类的基因藏着神话，而我们终将回到神话里面去。"

"「人求助於神，神幫助世人；人渴望神的力量，故而修煉成仙；人打破了自然的法則，最後甚至企圖超越了時間的界限。」 　　本片通过研究神话与现实社会之间的交叉关系试图站在过去与现在的角度去探讨未来。希望能藉此机会让观者重新审视神话与未来之间的关系，其实人类的基因藏着神话，而我们终将回到神话里面去。"