新婚那天男人嫌我晦气，扔下我就跑了。从此村里人戳我脊梁骨，说我不祥，克夫。 周志军不信这个邪。这糙汉把我堵在麦垛后头，眼珠子都快黏我身上了“桃，俺夜里睡不着，满脑子都是你。” 我臊得扭头要走，他一把拽住我，喘着粗气“你被人糟践，俺恨不得宰了那人。你躲着俺，俺心里疼。” 我眼眶发酸“我一个被扔了的女人” 他拉住我的手，嗓音又硬又烫“扔了好，归俺。这辈子，你只有俺” 外头有人说闲话，他拎着锄头就冲出去，眼角都是狠劲儿。

一部刮划胶片的先锋电影。 　　An etched, hand-painted 35mm digitized film comprised of collaged words, images, patterns and glitches shot from over 500 movie title cards to a musical soundtrack. West describes the new film as “a psychic montage of my inner-history of film in alphabetical order”. 　　The film is structured by a computer alphabetical sorting process, beginning with numbered films and moving through the list of movies in alphabetical order. The images were shot using a flashlight creating the effect of lighting the walls of a completely dark space. It is comprised of shots of individual movie titles and isolated words from the titles; these create a rhythmic word and image viewing game for the viewer, as they decipher recognisable fragments. Shot on analog 35mm film, the film celluloid of 8,000 feet of optical prints were inscribed with etched patterns, outlines, tracings, punctures and marks emphasizing the materiality of the film – using a host of unconventional tools such as forks, vegetable peelers, shards of mirror and hole punchers. 　　This work is part of a wider project considering the idea of the “remembered” film and how fiction weaves itself into our lives and memories – and how our viewing experience, and thus memories, has changed with the digital and Internet revolutions.

一部刮划胶片的先锋电影。 　　An etched, hand-painted 35mm digitized film comprised of collaged words, images, patterns and glitches shot from over 500 movie title cards to a musical soundtrack. West describes the new film as “a psychic montage of my inner-history of film in alphabetical order”. 　　The film is structured by a computer alphabetical sorting process, beginning with numbered films and moving through the list of movies in alphabetical order. The images were shot using a flashlight creating the effect of lighting the walls of a completely dark space. It is comprised of shots of individual movie titles and isolated words from the titles; these create a rhythmic word and image viewing game for the viewer, as they decipher recognisable fragments. Shot on analog 35mm film, the film celluloid of 8,000 feet of optical prints were inscribed with etched patterns, outlines, tracings, punctures and marks emphasizing the materiality of the film – using a host of unconventional tools such as forks, vegetable peelers, shards of mirror and hole punchers. 　　This work is part of a wider project considering the idea of the “remembered” film and how fiction weaves itself into our lives and memories – and how our viewing experience, and thus memories, has changed with the digital and Internet revolutions.

“以身体语言和镜头语言相结合的方式，对人的各种身份的存在依据，进行了深度探索的哲学影像”

“以身体语言和镜头语言相结合的方式，对人的各种身份的存在依据，进行了深度探索的哲学影像”

A group of friends try to get into a popular electronic dance music festival.

19世纪芭蕾舞演员玛蒂尔达·克谢辛斯卡娅与未来的俄罗斯沙皇尼古拉二世有过一段恋情的故事。

The story of 19th century ballerina Matilda Kshesinskaya who had an affair with the future Tsar Nicholas II of Russia.