想做愛的時候，只要登入約會軟體，就有各種男人任君挑選，還可以變換各種身分，體驗各種性愛。只是，當約會軟體變成警察抓小偷的工具，兩個男人激烈感官的一夜情，會變成什麼結局？捷克新秀導演吉里賽尼充滿天賦的首部作品，在激情邊緣探索當代男同志的性愛危機。

两个未来人为了修复时间线的错误，不得不涉入一对当代年轻男女的爱恨情仇，就在他们严肃又散漫、惊险又滑稽的行动过程中，一个足以令世界毁灭的巨大阴谋也在破土而出… 　　当外星人遇上地球人，一个奇妙的故事由此展开。真人短片《男人女人未来人》通过荒诞幽默的想象，深度剖析被误解和错觉填满的日常生活。

两个未来人为了修复时间线的错误，不得不涉入一对当代年轻男女的爱恨情仇，就在他们严肃又散漫、惊险又滑稽的行动过程中，一个足以令世界毁灭的巨大阴谋也在破土而出… 　　当外星人遇上地球人，一个奇妙的故事由此展开。真人短片《男人女人未来人》通过荒诞幽默的想象，深度剖析被误解和错觉填满的日常生活。

青年才俊导演贾森·雷特曼又看中了一部小说，Chad Kultgen所著《男人女人和孩子》（Men, Women & Children），故事讲述“互联网让色情视讯一点即看的当下，美国家庭所面临的性压力。”据称亚当·桑德勒、珍妮弗·加纳、罗丝玛丽·德薇特正商谈加盟，卡梅隆·迪亚茨也有望出演。在《男人女人和孩子》中，有经常浏览色情网站的父亲，有痴迷于魔兽世界的儿子，还有误入歧途的母亲。小说探讨的是在互联网视讯如此发达的当下，美国家庭所面临的性压力，以及美国社会“不牢靠的情感文化”。

两个年轻人，一个害羞，一个自信，在巴黎度过了一个快节奏的夜晚，试图搭讪小鸡。他们面对一切可能的困难。

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

本片由五条经纬线编织一个接一个的神秘故事。两条经线指的是两位到医院检查胃病的的病人，病重的是喜欢男扮女装的郁卒警察，另一个则是到处捻花惹草，家财万贯的富商痞子。三条纬线指的是火车上一见钟情的少男少女，各自用谎言欺骗对方编织梦想；还有专门在墓园里等待机会，拐骗丧妻的有钱罹夫的黑纱寡妇；以及街头拾荒有着天籁之音的流浪汉，等着有朝一日可以成为巨星……

本片由五条经纬线编织一个接一个的神秘故事。两条经线指的是两位到医院检查胃病的的病人，病重的是喜欢男扮女装的郁卒警察，另一个则是到处捻花惹草，家财万贯的富商痞子。三条纬线指的是火车上一见钟情的少男少女，各自用谎言欺骗对方编织梦想；还有专门在墓园里等待机会，拐骗丧妻的有钱罹夫的黑纱寡妇；以及街头拾荒有着天籁之音的流浪汉，等着有朝一日可以成为巨星……