Take a look at the world through the lens of food and explores how food explains the past and forecasts the future. 　　苹果TV投资拍摄的美食纪录片。

Take a look at the world through the lens of food and explores how food explains the past and forecasts the future. 　　苹果TV投资拍摄的美食纪录片。

弗兰西斯·麦克多蒙德将参与全新影片的编剧工作，她将联合编剧、导演山姆·霍夫改编迈克尔·波伦的小说《杂食者的困境》。山姆·霍夫曼表示：”这是我第一次和麦克多蒙德合作操刀剧本，我和麦克多蒙是在[月升王国]那部影片中结识，当时我是该片的制片人之一。“目前该片暂无其他消息。

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

人类在“生命之河”南方富饶的土地上繁衍生息了万年后，终于形成了统一的王国。又经历四个王朝的更替，处在蒸汽文明顶端的人类王国已经异常强大：由于“高燃度煤晶石”的发明，生物脑、机械人、蒸汽枪械，蒸汽车辆甚至带蒸汽辅助动力的重装甲相继出现。有限的领土已经无法满足人类的欲望，资源的枯竭成为进一步发展的掣肘，北方广阔的土地自然成为扩张的方向。然而，北方的动物不知何时吃下了“智慧果实”，诞生智慧，自称“灵”。冒险深入北地的人类探险队在报告中曾经提到：“万里地，十亿灵”。在“灵”的眼中，连“智慧果实”为何物都不知道的人类根本算不上拥有“真正”的智慧，最多只能是“伪灵”。北方“灵”族很快以强大的实力压制了人类的扩张，战争逐渐进入僵持状态，持续不断的冲突几乎贯穿了双方的历史。GD0113年，残酷的“红河之战”正在将大陆拖入另一个千年战争。突然降临的神秘势力插入战场...

人类在“生命之河”南方富饶的土地上繁衍生息了万年后，终于形成了统一的王国。又经历四个王朝的更替，处在蒸汽文明顶端的人类王国已经异常强大：由于“高燃度煤晶石”的发明，生物脑、机械人、蒸汽枪械，蒸汽车辆甚至带蒸汽辅助动力的重装甲相继出现。有限的领土已经无法满足人类的欲望，资源的枯竭成为进一步发展的掣肘，北方广阔的土地自然成为扩张的方向。然而，北方的动物不知何时吃下了“智慧果实”，诞生智慧，自称“灵”。冒险深入北地的人类探险队在报告中曾经提到：“万里地，十亿灵”。在“灵”的眼中，连“智慧果实”为何物都不知道的人类根本算不上拥有“真正”的智慧，最多只能是“伪灵”。北方“灵”族很快以强大的实力压制了人类的扩张，战争逐渐进入僵持状态，持续不断的冲突几乎贯穿了双方的历史。GD0113年，残酷的“红河之战”正在将大陆拖入另一个千年战争。突然降临的神秘势力插入战场...