最近在为数不多的闲暇中，一点一点磨了一段承袭自戈达尔的论文电影拼凑成品，把我的信手涂鸦、写的无聊句子、拍的碎片化视频，还有搜集的素材一股脑塞了进去。属于是对表达方式东施效颦的一次拙劣探索。我很愿意以一个没文化的废物姿态，去保留些微弱的感受。绵羊教育磨锐气，宏大叙事杀个人 。别沉默，就是这样。

一家被遗弃在废弃工厂的看护人拉妮（Rani）和她丈夫，丈夫的兄弟姐妹为争夺土地关系紧张。一群城市实验者，跑到废弃工厂拍摄，重金聘请拉妮实验神秘设备功效。但实验后，拉妮产生幻觉，发现可以回到刚发生的现场。当她回来发现丈夫死亡后，追问实验者才发现，竟然是可以颠倒时空的时光穿梭机。于是，拉妮要求重新实验，回去发现杀死丈夫的竟然是要霸占土地的丈夫弟妹。多个平行时间线中，出现的多个拉妮，决定要挽救丈夫。

A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.

在霍格沃茨之前的几十年，厄休拉·k·勒奎恩(Ursula K. Le Guin)在她的经典奇幻系列《地海》(Earthsea)中邀请年轻读者来到巫师学校，并以《黑暗的左手》(the Left Hand of Darkness)和《被驱逐者》(the Dispossessed)等杰作震撼了科幻世界。《厄休拉·k·勒奎恩的世界》用她自己的话讲述了这位开创性作家的故事，点缀着令人惊叹的动画和玛格丽特·阿特伍德、尼尔·盖曼、大卫·米切尔和迈克尔·查邦等文学名人的评论。在勒奎恩的参与下，制作了十多年，乌苏拉·k·勒奎恩的世界是一个令人惊叹的旅程，通过已故作家的职业生涯和她的世界，既有真实的，也有梦幻的。

时间回溯到1979年的纽约……加布里埃尔·里奇蒙德（蒂莫西·赫顿饰）是一位非常有才华的建筑师，而且已然过上了一个看起来拥有着一切的富足且美好的生活，包括一位美丽的贤妻（达娜·德拉尼饰）、一个可爱的女儿和一大群至交好友。可是，加布里埃尔却开始越来越多的将大把的时间花在电影院里，为了逃避工作，而甘心将自己置身于一个虚构的世界当中，因为他发现自己似乎更愿意与这些拼凑起来的虚构人物交流。当不真实的想象反衬...

娜塔莎金斯基扮演的女主角正在大学念书，但她的心理深处一直忘不了童年悲惨的经验。有一天，校园里惊传谋杀案，死者正是她的英文教授。一切证据都指向她，然而她本人却毫无犯案的记忆。凶手真的是她，或者另有其人？

God is a single parent and amateur programmer. He's working on project 'Earth' but never seems to get a break from the kids. One day though, he finally gets a breakthrough.

Alice and Tommaso have been together for many years. When they invite their friends to dinner, everyone thinks they'll announce they're getting married. Instead, they are breaking up. 　　Venetian Nights 2021

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.