The video comes from a recently discovered microchip, estimated to be around 3-4 million years old. It shows two organisms engaged in a continuous conflict, some characters still cannot be recognized.

The video comes from a recently discovered microchip, estimated to be around 3-4 million years old. It shows two organisms engaged in a continuous conflict, some characters still cannot be recognized.

当两个单词被连字符相连，新的词语和词义诞生了。当两个人相遇、相识，是“我们”还是“你”和“我”？生活在菲律宾的日语翻译洁米接下一部电影的字幕翻译工作，由此结识日本导演诚。工作之余，两人徜徉在街头小吃、酒水和洁米自创的虚构语言世界中，渐渐在彼此身上发现他们从未意识到自己需要的东西。披着爱情片的外衣，本片企图打破脆弱的语言“外壳”，探讨人与人之间那些只可意会的时刻，与言犹未尽的遗憾。

当两个单词被连字符相连，新的词语和词义诞生了。当两个人相遇、相识，是“我们”还是“你”和“我”？生活在菲律宾的日语翻译洁米接下一部电影的字幕翻译工作，由此结识日本导演诚。工作之余，两人徜徉在街头小吃、酒水和洁米自创的虚构语言世界中，渐渐在彼此身上发现他们从未意识到自己需要的东西。披着爱情片的外衣，本片企图打破脆弱的语言“外壳”，探讨人与人之间那些只可意会的时刻，与言犹未尽的遗憾。

在未来，为应对超常规事件，各国政府联合成立了一个超常规事件处置中心，某日，中心调查官成英和队员们奉命调查一条神秘广播信号的源头，他们穿过山洞来到一个寂静小镇，发现小镇生命全部死亡，来时的山洞又突然消失，更可怕的是，他们还发现了另一个自己..

严重恐艾的子恒恳求男友晨东进行HIV检测，二人就信任问题在宿舍愤怒争吵，子恒试图强行采血。此时，另一名室友正在赶来的路上……

严重恐艾的子恒恳求男友晨东进行HIV检测，二人就信任问题在宿舍愤怒争吵，子恒试图强行采血。此时，另一名室友正在赶来的路上……

墨西哥母亲玛格达勒娜在前往美墨边境寻找失踪儿子的路途中，遇到了不久前被美国驱逐出境的男子米格尔。玛格达勒娜寻子，而米格尔则希望能再见他母亲一面…

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.