Rameshchandra Chaudhry, a lawyer by profession, is in love with Hemnalini, and is displeased when he finds that his father wants him to marry Sushilla, the daughter of a widow. He initially refuses despite of his father disowning him, but changes his mind when the bride's mother pleads with him, and gets married without even seeing, leave alone getting to know his bride. After the marriage, they board a boat which overturns after a storm, and they end up being the only survivors. Unable to get Hemnalini out of his mind, he refuses to be intimate with his bride. On talking with her gradually over the next few months, it slowly sinks in that she is not Sushilla but Kamla - the bride of another male! The question remains: what can he do under these circumstances, and what impact will this have on Kamla - who has traditionally accepted him as her husband.

玉玉总觉得有人跟踪她，找来好朋友旦旦帮她拍摄取证的故事。 　　这是一部用 DV 拍摄的伪纪录片作品，导演姚易彤和张岚寓在其中探索了不同的视角与叙事视点。面对生活的压力，旦旦与玉玉透过彼此的镜头，共同追寻那个神秘的“跟踪者”，DV 成为了她们搜集证据、观察世界的最佳“监视武器”。在不 断的拍摄与剖析中，她们渐渐捕捉到许多微妙的线索与细节，直到“跟踪者”的出现引发了她们对“黄瓜”的思考，再次触动了内在的意识。所有不可思议的点，静悄悄地串联了起来，她们突然意识到：原来我们并非这个世界上的人类。就在那一刻，两人共同觉醒，回归本体。 　　“它本身有一种游戏精神在里面，所以非常放松，但实际上它会讲非常本质的东西。它不是纪录片，是设计很完整的剧情片，一点点就引出来后面女性身体的打开，所以很棒。”——马林（码头电影｜声色场所 策展人） 　　Yuyu feels someone is stalking her, so she asks her friend Dandan to help film evidence. 　　This is a mockumentary shot on DV, in which director TiaoTiao Yao and Alice Zhang explore shifting perspectives and narrative viewpoints. Faced with the pressures of daily life, Dandan and Yuyu turn their cameras on each other in search of the mysterious “stalker.” The DV becomes their ultimate “surveillance weapon” for collecting evidence and observing the world. Through continuous filming and analysis, they gradually uncover a series of subtle clues and details, until the appearance of the “stalker” sparks a reflection on cucumbers—once again stirring something deep within. All these seemingly disconnected, improbable fragments quietly link together, leading them to the sudden realization: they are not human beings of this world. In that moment, the two awaken together, returning to their true forms. 　　“It carries a playful spirit at its core, making it feel very relaxed, yet it explores something truly essential. It isn’t a documentary; it’s a carefully structured narrative piece that gently leads to the opening up of the female body—which makes it brilliant.” 　　— Ma Lin (Curator, Matou Film | Shengse Space)

本系列纪录片围绕船只或飞机的水下残骸展开。它们的历史故事各不相同，或遭事故或由人为沉没至海底，年深日久发育成人工鱼礁，成为海景图上的壮美一笔。这些残骸受光照、洋流等因素影响，成为海绵和珊瑚等生长的基石，它们又是食物链的基础，吸引了体型习性各异的鱼类。这些残骸最终为培养健康的海洋生态系统发挥了至关重要的作用。镜头跟随资深的潜水客前往博奈尔岛、弗罗里达群岛、巴哈马群岛、罗阿坦岛以及墨西哥尤卡坦半岛，探寻附近由各等级生物所组成、光怪陆离的海底世界。

本片描写了1912年号称“世界之最”的英国豪华游轮“泰坦尼克”号的“处航”因撞冰山沉没的情景，真实而生动的刻画了不同身份、不同阶层的人物，以及在“…

这是一部载入史册的影片；本片描写了1912年号称“世界之最”的英国豪华游轮“泰坦尼克”号的“处航”因撞冰山沉没的情景，真实而生动的刻画了不同身份、不同阶层的人物，以及在“泰坦尼克”号沉没过程中，他们所表现出来的各种精神面貌。

Review: 　　In spring 1934 four children come from Praga to Nordpol. They want to rescue a crew of exploratory ship which is blocked in polar sea. 　　Keywords: 　　boy-bath-scene, boy-nudity, girl-bath-scene, girl-nudity 　　Controversial scenes: 　　Bath scene with 3 boys (7-12) and 1 girl (9). Full nudity.

Review: 　　In spring 1934 four children come from Praga to Nordpol. They want to rescue a crew of exploratory ship which is blocked in polar sea. 　　Keywords: 　　boy-bath-scene, boy-nudity, girl-bath-scene, girl-nudity 　　Controversial scenes: 　　Bath scene with 3 boys (7-12) and 1 girl (9). Full nudity.

故事发生在一个停靠着拖船的小码头。在这个晴朗明媚的日子里，米奇、唐老鸭、高菲三个小伙伴哼唱着快乐的小曲子，他们齐心协力，准备好好粉刷一下那艘已经有些老旧破败的拖船。米奇和高菲拉动绳索，将米奇吊到桅杆上方。米奇正准备粉刷桅杆，谁知油漆桶居然被旁边的大嘴鹈鹕给吞到肚子里，由此闹出了不小的笑话。 　　就在此时，船上电台发来求救指示，附近海域有一艘船发生海难，请求营救。得知消息后米奇连忙通知两个伙伴，大家连忙进入战备状态，谁知却是越忙越乱。老旧的设备和笨手笨脚的船员，让营救变得寸步难行……

一如往常的泳队生活，在迈入青春期的前夕，大家的友情变得有些暧昧，使得六年级的育瑄，守在心中的秘密，渐渐的掀起涟漪……