In the last 400 years, the Chinese contribution to the world is almost zero, but what about before? The ancient wisdom and extraordinary creativity of the past is the light of the future.

方佳莹原本以为完美的两人世界，在与交往三年的杨大和分手之后全毁。分手的当下，大和表示自己渴望一个人的自由自在，佳莹不甘示弱逞强地表示自己也可以「一个人」。没有大吵大闹，也没有谁失去风度，但从分手的那一刻起，佳莹的人生变了。分手的这一年，佳莹过着自以为平静的生活，但同事张一瑞的眼中，她根本是在死撑。一瑞是佳莹在编辑部的同事，他看着佳莹这一年过的生活，决定和女友丁秀欢帮佳莹介绍恋爱对象，秀欢第一个就想到她的表哥丁志明，决定大力推荐给佳莹。但丁志明却是那种笃信「这个世界上没有谁一定要谁」、「一个人才是王道」的人，而这种人在佳莹眼里，叫做怪咖。

天立（任达华）被富商雷有财害得走投无路，为要拿回自己应得的公积金，天立甘愿铤而走险，绑架雷的女儿芷兰（邱淑贞）。探员陈森（尹扬明）接管这案件，天立往取赎款时更被森追捕，森错手误杀了一名途人，为求自保，他竟嫁祸天立，使之成为杀人通缉犯，而出人意料的是，在相处的几天中，芷兰同情天立的不幸遭遇，竟愿意与天立一起走上不归路，成为一对令黑道闻风丧胆的雌雄大盗。

Coming from Belgium is This is not a Murder Mystery, a whodunit in genuine Agatha Christie style, but riddled with surrealist motifs and elements.

少女恋恋清晨醒来，发现自己的养的宠物兔子，找不到了。整个早上， 她都在寻找，而这个行为，在大人眼里显得毫无意义。终于，她在某个废弃的涵洞里，看到了一团燃烧的火，她哭了起来，好像这个世界只有这团火才属于她。

方佳莹原本以为完美的两人世界，在与交往三年的杨大和分手之后全毁。分手的当下，大和表示自己渴望一个人的自由自在，佳莹不甘示弱逞强地表示自己也可以「一个人」。没有大吵大闹，也没有谁失去风度，但从分手的那一刻起，佳莹的人生变了。分手的这一年，佳莹过着自以为平静的生活，但同事张一瑞的眼中，她根本是在死撑。一瑞是佳莹在编辑部的同事，他看着佳莹这一年过的生活，决定和女友丁秀欢帮佳莹介绍恋爱对象，秀欢第一个就想到她的表哥丁志明，决定大力推荐给佳莹。但丁志明却是那种笃信「这个世界上没有谁一定要谁」、「一个人才是王道」的人，而这种人在佳莹眼里，叫做怪咖。

该片主要讲述了一个从未谈过恋爱的城市宅男，与五个不同物品变身的女友之间发生的奇幻爱情故事。28岁的阿木由于单身，受到了世界的排挤。单身保险员安…

An illuminating – and extremely rare – documentary profile of one of the greatest filmmakers of our time, Béla Tarr. Filmed during the production of his final masterpiece, The Turin Horse, this film features clips, behind-the-scenes footage and interviews with longtime collaborators. 　　From December 2008 until June 2010, Béla Tarr gathered his “cinema family” near Budapest for his last film: The Turin Horse. This shooting family, which has been collaborating with Tarr for years or even decades, includes Tarr's wife/co-director/editor Agnes Hranitzky, cinematographer Fred Kelemen (himself a director of some renown), scriptwriter Laszlo Krasznahorkai, musician Mihaly Víg, composer Akosh Szelevenyi, and lead actors Janos Derzsi and Erika Bok. 　　Tarr Béla: I Used to Be a Filmmaker offers an in-depth window into Tarr’s on set process. While filmmaking is "a feudal system" and “there is no democracy in art” as Tarr declares, this film reveals collaboration is essential to the making of Tarr’s cinematic art. Granted all-access, French anthropologist/filmmaker Lamoure closely follows the construction of the main set, captures intimate exchanges between the director and his actors during rehearsals, and the orchestration of elaborate shots involving heavy equipment, but as the documentary also reveals, economic ingenuity. 　　Lamoure takes occasional detours to Budapest where he elicits revealing interviews from Bok, Vig and Derzsi, and also includes clips from Tarr's best-known previous productions, the 7-1/2 hour Sátántangó (1994) and Werckmeister Harmonies (2000), plus 8mm footage shot during the making of the former.

故事由女导演伊莲（曾佩瑜饰）为情吞药自杀，和从泰国苏美岛结束满月派对回台即逃家的女作家阿翘（李维维饰）揭开序幕，两个同样混乱、对当下感情生活极度厌倦的女人相遇，开启了一段迷幻的追求真爱之旅。两人友谊极速建立的同时，周遭的情感世界也同步旋转、交错，一段一段的感情发生，像醒不过来的恶梦般一层深过一层，终致于亲密关系的全面崩毁。