In northern France, Juliette grows up alone with her father, Raphaël, a veteran of the First World War. Passionate about singing and music, the lonely young girl meets a magician one summer who promises that scarlet sails will one day take her away from her village. Juliette never stops believing in the prophecy. Freely inspired by the tale "The Scarlet Sails" by Aleksandr Grin, Pietro Marcello's film blends music, history and folklore, bordering on magical realism.

In northern France, Juliette grows up alone with her father, Raphaël, a veteran of the First World War. Passionate about singing and music, the lonely young girl meets a magician one summer who promises that scarlet sails will one day take her away from her village. Juliette never stops believing in the prophecy. Freely inspired by the tale "The Scarlet Sails" by Aleksandr Grin, Pietro Marcello's film blends music, history and folklore, bordering on magical realism.

八十年代后期，三位热爱新谣的高中生毅伟（李铭顺饰）、楚帆（郑斌辉饰）和大卫（林明伦饰）组成了新谣小组“起飞”。后来陆续加入了雅芳（许美珍饰）与美玲（郑秀珍饰）。当时，楚帆与雅芳成为恋人，毅伟暗恋雅芳，而美玲则喜欢楚帆。后来，楚帆娶了美玲、毅伟娶了雅芳。不过几年后，楚帆和美玲选择离婚。 时至今日，他们三人创立的“起飞”唱片公司已是颇具规模的唱片公司；楚帆是公司的创意总监，而毅伟则是CEO。每当他们工作意见不合时，大卫就会充当二人的化解桥梁。 不幸的，面对竞争与转型的压力，“起飞”面对营运与财务危机。这时，楚帆的前妻，美玲，告知三人自己代表的公司想要拓展事业到东南亚，看上起飞唱片的潜质，所以愿意注资，但前提是，她要占四成的股份。大卫和毅伟担心美玲是否另有所图，因过去与楚帆的恩怨而想要报复，但楚帆却觉不可能，因两人是和平分手，而且自己没对不起她。美玲为了取得大卫与伟信任，不遗余力， 最后终让大卫与伟放下戒心。 其实，她真的不怀好意。目的是要独吞“起飞”；一切都是因为想要报仇。 有了资金，三人决定开音乐学校，大卫到台湾找暗恋多年的好友，雪莉（郭舒贤饰），游说她回来当歌唱老师，栽培新人。雪莉是早期新谣歌手，之后辗转在港台发展，但却不如意。当大卫在台湾找到雪莉的时候，发现她竟在一间二流的餐厅驻唱，且生活很潦倒。在大卫契而不舍的苦劝下，最后雪莉终被感动，答应回来新加坡。 雪莉的出现令美玲感到反感。因为雪莉被楚帆的才华吸引，不自觉的喜欢上他。她的出现也导致毅伟、楚帆与大卫失和， 搞到“起飞”唱片公司一片混乱。美玲借机进来公司，表面说是帮忙，其实是展开夺取“起飞”唱片公司的计划。 热情、梦想随着贪欲而即将灭亡。复杂的6人关系、累计多年的误会、伤口会平复呢？也许这会是新谣最后的印迹。

Taking Flight is a short film inspired by Antonio Pasin, inventor of the Radio Flyer wagon. In this fictional tribute to Pasin's legacy, what begins as a small boy's boring day with Grandpa turns into a larger-than-life journey, narrowly escaping wild monkeys and battling aliens to save the universe.

丈夫是植物人的三十岁“热血宗妇”和二十九岁的“海外领养儿出身CEO”以大型百货商店为背景，就推出“百花酒”展开的浪漫故事。 　　王嫔娜和金南镇以女大男小的情侣相见。两个人在8月24日首播的SBS周五连续剧《起飞》里饰演男女主角，讲述愉快明朗的爱情。 　　王嫔娜在这部连续剧里饰演“韩国代表大婶”李真熙。李真熙是新婚美梦还没醒之前变成寡妇的主妇，也是大宗家的媳妇。看护植物人的丈夫，最终送他最后一程，为了宗家和作为曾孙的儿子，忘记自己的人生而活的角色。其间两次以女二号出演《黄真伊》和《梅丽大丘攻防战》里活跃于荧屏的王嫔娜在这部连续剧里首次担任主演而受到瞩目。

人谁都有想飞翔的梦想。但是往往这些带着翅膀飞翔的普通人的梦想在残酷的现实中渐渐地破灭掉。这部剧描写了放弃了自己的梦想，一心只为儿子活过来的年轻…

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.