以没做作业的借口“今天作业被狗吃”为灵感，一个与众不同，令人意想不到的动画故事。 　　本片为中国传媒大学艺术学部动画与数字艺术学院14级学生大三联合创作。

Phone calls are awkward, email is old, texting is tacky. Wouldn´t it be nice to deliver messages verbally, face-to-face, even when you can´t (or don´t want) to be there? This hilarious and strangely poignant movie introduces a radical new messaging system created by artist Miranda July. A mesmerizing cast of characters, including July herself, break up, make up, and make love with this new technology.

Phone calls are awkward, email is old, texting is tacky. Wouldn´t it be nice to deliver messages verbally, face-to-face, even when you can´t (or don´t want) to be there? This hilarious and strangely poignant movie introduces a radical new messaging system created by artist Miranda July. A mesmerizing cast of characters, including July herself, break up, make up, and make love with this new technology.

以色列的年轻世代渴望尝试所有新鲜事，丹妮怀孕了，她急着在派对中寻找并告知播种者麦克斯，却难见其踪影；麦克斯交了新女友艾薇夏格，忙着体验粗暴性幻想情节。然而他却有所不知，艾薇夏格正陷入一段未预期、看似不可能的关係中，寻求何谓真正的交集、温暖与亲密。 　　导演哈妲丝．班．阿若雅藉本片叩问何谓自由、爱与亲密？自觉青春无敌的年轻世代，没有限制、禁忌，追求新奇、刺激，万物如速食随手可抛，兴奋感却无法持久，只有在性爱中追求痛楚，才能真正感受自身存在，却因此耽溺成瘾。看似自信独立，却又害怕寂寞，想爱、渴望亲密却无法向他人展露真实脆弱的一面。好不容易相爱，却又轻易让彼此心碎；想逃离现实，却被黑洞般的空虚和恐惧咬啮吞噬。片中章节环环相扣，彷若人际关係网路，角色互为彼此镜像，血淋地体现这个世代的写照。

以色列的年轻世代渴望尝试所有新鲜事，丹妮怀孕了，她急着在派对中寻找并告知播种者麦克斯，却难见其踪影；麦克斯交了新女友艾薇夏格，忙着体验粗暴性幻想情节。然而他却有所不知，艾薇夏格正陷入一段未预期、看似不可能的关係中，寻求何谓真正的交集、温暖与亲密。 　　导演哈妲丝．班．阿若雅藉本片叩问何谓自由、爱与亲密？自觉青春无敌的年轻世代，没有限制、禁忌，追求新奇、刺激，万物如速食随手可抛，兴奋感却无法持久，只有在性爱中追求痛楚，才能真正感受自身存在，却因此耽溺成瘾。看似自信独立，却又害怕寂寞，想爱、渴望亲密却无法向他人展露真实脆弱的一面。好不容易相爱，却又轻易让彼此心碎；想逃离现实，却被黑洞般的空虚和恐惧咬啮吞噬。片中章节环环相扣，彷若人际关係网路，角色互为彼此镜像，血淋地体现这个世代的写照。

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.

雷米和从事科研工作的梅兰妮都是30岁的巴黎人，住在同一个街区。当梅兰妮对通过社交软件谈恋爱失去信心时，雷米却几乎找不到约会对象，他们都感到十分孤独。实际上，他们两人住在距离彼此不远的地方，却一直没能好好地建立关系。他们能把一系列错失的机会变成一场改变命运的邂逅吗?

雷米和从事科研工作的梅兰妮都是30岁的巴黎人，住在同一个街区。当梅兰妮对通过社交软件谈恋爱失去信心时，雷米却几乎找不到约会对象，他们都感到十分孤独。实际上，他们两人住在距离彼此不远的地方，却一直没能好好地建立关系。他们能把一系列错失的机会变成一场改变命运的邂逅吗?