"阿贝尔·费拉拉 Abel Ferrara 9分钟： 美国独立电影制作人阿贝尔·费拉拉的《猛禽小队》，本来是他梦寐以求的政治惊悚片，但一切都没有成真。《四五口径女郎》 （1981）和《坏中尉》（1992）等电影背后的导演，带我们一起走进20世纪70年代纽约，去探究一个未完成的故事。 蔡明亮 Tsai Ming-Liang 12分钟： 蔡明亮，台湾慢电影大师，没有真正的“未竟之作”，但有的是生动却无法拍摄的童年记忆。借助VR这一媒介，蔡明亮回到了他童年的马来西亚，当时他的祖父母每晚都会带他去看电影。与其说蔡明亮在分享一部未拍的电影，不如说他将这个项目转化成了他整个电影生涯的创作源起。 凯瑟琳 · 哈德威克 Catherine Hardwicke 12分钟： 《暮光之城》第一部票房大卖后，美国电影制作人凯瑟琳·哈德威克想要改编爱德华·艾比的《有意破坏帮》，这是一部20世纪70年代美国反主流文化的经典书籍，也是生态行动主义的先驱。导演回顾了这个令她非常兴奋的项目，由于好莱坞电影公司没有兴趣，这个项目成为了无数个“车库幽灵”中的一个。 李明世 Lee Myung-Se 12分钟： 《父亲走了》本来是李明世的处女作，但陷入了漫长的停滞期。在韩国执导《初恋》、《无处藏身》等类型片三十年后，李明世终于通过VR将这一项目带回了现实。该片以导演经历的1960年代一家三口搬到首尔郊区为背景，对韩国传统文化中父亲的地位提出了质疑。 河濑直美 Naomi Kawase 15分钟： 日本著名的女导演重新审视了2015年《澄沙之味》之后的一个项目《Oh Debu》讲述了 Aya 的故事 —— 一个超重又沉迷于浪漫幻想的27岁女人。通过这个故事，河濑直美想给自己一个挑战，尝试制作一部喜剧，远别于她以前自然主义、诗意的作品。"

在天体生物学家丢失的物品中，隐藏着未来旅程的线索。踏入混合现实体验，从地球驾驶到宇宙最深处，踏上探索宇宙生命的旅程。寻找行星及其暗卫星中未来世界和遥远的存在。2019年现象级VR《苍穹》导演的最新作品，2024年SXSW首映。

"肯尼迪总统遇刺六十年后，《肯尼迪纪事》记录了 1963 年 11 月 22 日发生的事件以及随后的调查。这部纪录片共分五个章节，由经历过这些事件的在世目击者、记者和调查人员讲述，准确地记录了这改变世界的48小时。档案照片和影片变得栩栩如生，经过 3D 重新处理并重新投影到历史遗址上。"

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. Episode 1: Abel Ferrara, Birds of Prey (USA) In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. Episode 4: Lee Myung-Se, Father is gone (South Korea) Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. Episode 5 : Naomi Kawase, Oh Debu (Japan) The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.

1990年代，华裔加拿大艺术家黄良开启了一项个人视频项目，勇敢地记录自己与HIV共存的经历，然而这个项目最终未能完成。在他去世三十年后，电影制作人陈乐施偶然发现了这些遗留在时光中的影像资料，并决定将其编辑成片，以此纪念这位艺术家及其未竟的作品。

《父亲走了》本来是李明世的处女作，但陷入了漫长的停滞期。在韩国执导《初恋》、《无处藏身》等类型片三十年后，李明世终于通过VR将这一项目带回了现实。该片以导演经历的1960年代一家三口搬到首尔郊区为背景，对韩国传统文化中父亲的地位提出了质疑。

《气流》Flow 15分钟： 在《Flow》中，风变得可见，与世界万物发生碰撞，构形。通过虚拟现实，我们被带到了气流绘制的动态中，香气、温热、呼吸，一切都变得可见，现实有了全新的视角。 《横移》Lateral 12分钟： 横移镜头产生的细小差别，可以构成双目视差，从而形成3D影像。作者利用尚塔尔•阿克曼、安德烈•塔尔科夫斯基等导演故事片中的横移镜头，重新横向左右排列，创造出经典电影中的3D潜质。分为VR版和平面视频版，观众可以使用不同媒介来看同一个作品。 《浪漫快车》Romance Car 9分钟： 探索小田急浪漫特快车，从 1960 年代到现在的演变，从不同的车窗欣赏多样化的城市景观和风景。一位年轻女子回忆起她父亲的故事，并引出一条记录时代的工具发展史：摄影机的变迁。

美国独立电影制作人阿贝尔·费拉拉的《猛禽小队》，本来是他梦寐以求的政治惊悚片，但一切都没有成真。《四五口径女郎》 （1981）和《坏中尉》（1992）等电影背后的导演，带我们一起走进20世纪70年代纽约，去探究一个未完成的故事。

以对白为主题的实验影像装置，探寻人类所存在的对白形式，不仅仅是简单的日常对话，也是我们曾说出口的对白和未能说出的对白，它涵盖的内容是广泛的，可以是与历史的对白、与社会和城市的对白、与自我的对白。

A detective in training is about to take his final exam. He is sent to room 13, where his professor befuddles him with a tricky doorknob. Next, he goes to a tea party with his professor loosely disguised as an old lady; the butler serves a pot of "T.N.Tea" even though his back is full of knives. The professor keeps disappearing; the student tracks him by his footprints, even though the footprint powder at one point becomes train tracks and the doors he opens have a skeleton and some card-playing ghosts. Finally, the budding detective phones for the police; when they arrive (driving on the phone lines) and pile into the phone booth, he passes, and is given the first, second and (under bright lights) third degree.