经历两次失败的婚姻，玉梅依然笃信“爱情”。每天穿越大半个上海，在高架上飞驰，在高架下入夜，寻找某个可能陪她余生的舞伴。寻找，成为她忙碌又诗意的日常。

年过七十，人生似乎行将谢幕。经历两次失败婚姻的玉梅却心有不甘，拖着她的拉杆箱，每天穿越大半个上海，寻找爱情，寻找某个可能陪她余生的舞伴。她白天奔波于城市四通八达的公交网络，夜晚归宿到她郊外的出租屋。每天往复，又似乎每天不同。散落于城市各处的这些老人的聚会或约会中，总能遇到性格不同又各有致趣的老人：不论是一见面就提出“一个被子洞里看电视”的，还是想去澳门再赢人生的，或是离异后仍与前妻隔帘而居的……玉梅，带我们打开了一个陌生的城市空间，一个充满别样风情的老人世界。

暂无剧情简介

作者玛莎和苗酱历时半年时间，在中国多个城市寻找和收集同性恋者的影像和故事。还原他（她）们的生活场景，我们发现，同性恋者跟异性恋者并无不同，只是在中国，他们悲欢离合都被掩埋。入围第9届Iris世界同志短片大赛。

大兵（祝捷 饰）和小曼（文君 饰）是一对结婚多年的夫妻，两人同开一辆出租车，一个人开白班，一个人开夜班。大兵的母亲身患重病需要巨额的医药费，为了赚钱，夫妻两人没日没夜的工作，几乎见不着面。驾驶室里那小小的一方天地已经是他们生活的全部了。 最终，病魔还是带走了老太太，在悲伤之余，大兵和小曼的生活压力一下子就减轻了不少。很快，小曼就找到了下一个人生目标，她想要一个孩子。有了目标，就又有了奋斗的理由，小曼更加卖力的工作，可是大兵却陷入了迷惘之中，他不知道为了一点钱牺牲掉了夫妻，乃至生活之中的全部乐趣是否值得。

In "Your Day is My Night", a collective of Chinese performers living in New York City explores the history and meaning of "shiftbeds" through verité conversations, autobiographical monologues and integrated movement pieces. On screen, the seven performers play themselves, while living together with a young Puerto Rican woman in a shift-bed apartment on Hester Street in the heart of Chinatown. The concept of the shift-bed allows us as viewers to see the private become public, as the bed transforms into a stage for our characters to reveal the struggles and joys of their lives. "Your Day is My Night" is a provocative hybrid documentary that looks at issues of privacy, intimacy, and community in relationship to this familiar item of household furniture.

早6点至晚18点，全城死寂绝对太平，无异兽、无危险、无风无浪，阳光惨白僵硬，世界像被按下静止键；晚18点至次日6点，天降纯黑黑雾，吞噬所有光线，噬夜怪全城解禁。怪物无固定形态，隐匿黑雾中，靠声波、体温、呼吸定位活人，啃食血肉、模仿人声诱猎，密闭空间可避险，但会被持续试探撞击。

Four years after Pour la suite du monde (1963), director Pierre Perrault asks Alexis Tremblay if he'll agree to travel with his wife Marie to the country of their ancestors, France. In a montage parallel, we follow them in France and listen to them talking to their friends about it.

The subject of this film is a true case that happened in the city of Bremen: The story of citizen Geesche Gottfried (Margit Carstensen), widowed Miltenberger, who killed 15 people, among them her mother, her father, her children, two husbands and other persons from her immediate environs, while her fellow-citizens had considered her a respectable, god-fearing woman. In the end, she was unmasked and beheaded in 1831 – the last public execution in Bremen. Bremen Freedom is not a thriller. It is not the intention of the piece to gradually unmask the culprit. Like in a ballad, the killings are arranged in a kaleidoscope. The murderer’s motive is of interest in this play, but not how she is convicted. Geesche Gottfried murders because she wants to be free and because she does not want to be one of the men’s “pets”. “This was not a life, Michael, what mother lived there. In that case, death is a blessing for someone,” says Geesche Gottfried after murdering her own mother.