三名亡命之徒被称为“麦克尼斯兄弟”，威胁着位于沙漠中的一个边陲小镇。这是由一个前警长和一个舞蹈家来阻挠卑鄙的三重奏。

A mid-century cinematic device that uses a rotating barrier-grid to display autostereoscopic 3D: the cyclostéréoscope resembles a piece of industrial farm equipment as much as a pre-modern line screen apparatus – a correlation that Lurf and Jauernik tease out through a spatiotemporal intervention. Befitting its title, Revolving Rounds is a cyclical film in both form and content. Shot at an agricultural field on the outskirts of Viennathe film begins as it ends, tracking a planimetric path alongside three greenhouses as the early morning sun beams across the surrounding landscape.

A mid-century cinematic device that uses a rotating barrier-grid to display autostereoscopic 3D: the cyclostéréoscope resembles a piece of industrial farm equipment as much as a pre-modern line screen apparatus – a correlation that Lurf and Jauernik tease out through a spatiotemporal intervention. Befitting its title, Revolving Rounds is a cyclical film in both form and content. Shot at an agricultural field on the outskirts of Viennathe film begins as it ends, tracking a planimetric path alongside three greenhouses as the early morning sun beams across the surrounding landscape.

三名亡命之徒被称为“麦克尼斯兄弟”，威胁着位于沙漠中的一个边陲小镇。这是由一个前警长和一个舞蹈家来阻挠卑鄙的三重奏。

A deserted pond. Two lonely children fall under the spell of this wild place that, little by little, draws them closer to each other and gives them the strength to cope with life. Seen through their eyes, and through their imaginations, the pond becomes a secret kingdom, both marvellous and frightening, thronging with creatures born from dreams or nightmares. The children experience an initiation, brief and intense, from which they will emerge transformed.

A deserted pond. Two lonely children fall under the spell of this wild place that, little by little, draws them closer to each other and gives them the strength to cope with life. Seen through their eyes, and through their imaginations, the pond becomes a secret kingdom, both marvellous and frightening, thronging with creatures born from dreams or nightmares. The children experience an initiation, brief and intense, from which they will emerge transformed.

Knight is a fan of soundtracks for movies and dramas. When he goes on a mission to find the soundtrack for the "My Girl" movie, he finds out the last CD had already been bought. He goes out to find that the lady that purchased the last one; but he is hit with "love at first sight". 　　Earth and Nik have been friends for ages. But Earth slowly starts to feel more than friends. 　　But can Knight and Earth become a part of someone else's "universe"?

Knight is a fan of soundtracks for movies and dramas. When he goes on a mission to find the soundtrack for the "My Girl" movie, he finds out the last CD had already been bought. He goes out to find that the lady that purchased the last one; but he is hit with "love at first sight". 　　Earth and Nik have been friends for ages. But Earth slowly starts to feel more than friends. 　　But can Knight and Earth become a part of someone else's "universe"?

法国生态电影大导演克劳德·努利德山与玛丽亚·贝兰奴，继《小宇宙》之后，历经6年的酝酿，于 2004年推出又一力作：《小宇宙 2 基因狂想曲》。影片重现亿万年前混沌乍开、熔浆奔流的壮美气魄。大地冷却、落雨成海，终于在水中孕育出地球最初的生命…… 　　昆虫是无语的主角，没有旁白注脚，观众全然用自己的心思与眼耳来解读昆虫的一天。《小宇宙 2 基因狂想曲》的主题是宏观的，它讲的是自然界本身与存在于自然界中的万物，因此，人的元素被置入了——选择非洲老祖父代言，因为非洲是人类发源的摇篮，说的故事也有以口述语言传承文化的意味。 　　《小宇宙2：基因狂想曲》不仅仅是一部纪录片，它还是一部喜剧音乐电影，有刻意安排的情节、演员、也有布景与聚光灯；它希望帮助人们发掘宇宙之美、发掘动物与人类、无生物与生物之间的联贯性。当一切都能被拆解成原子，死亡不过是生命现象的转换：水母优雅地漂至岸边、静静等待生命乾涸；落叶腐果，也都有着孕育新生的使命。而人呢，如同智者所说，“某日，我将回到那个当初生我、造我的世界"。

法国生态电影大导演克劳德·努利德山与玛丽亚·贝兰奴，继《小宇宙》之后，历经6年的酝酿，于 2004年推出又一力作：《小宇宙 2 基因狂想曲》。影片重现亿万年前混沌乍开、熔浆奔流的壮美气魄。大地冷却、落雨成海，终于在水中孕育出地球最初的生命…… 　　昆虫是无语的主角，没有旁白注脚，观众全然用自己的心思与眼耳来解读昆虫的一天。《小宇宙 2 基因狂想曲》的主题是宏观的，它讲的是自然界本身与存在于自然界中的万物，因此，人的元素被置入了——选择非洲老祖父代言，因为非洲是人类发源的摇篮，说的故事也有以口述语言传承文化的意味。 　　《小宇宙2：基因狂想曲》不仅仅是一部纪录片，它还是一部喜剧音乐电影，有刻意安排的情节、演员、也有布景与聚光灯；它希望帮助人们发掘宇宙之美、发掘动物与人类、无生物与生物之间的联贯性。当一切都能被拆解成原子，死亡不过是生命现象的转换：水母优雅地漂至岸边、静静等待生命乾涸；落叶腐果，也都有着孕育新生的使命。而人呢，如同智者所说，“某日，我将回到那个当初生我、造我的世界"。