《火焰中的星空》为符昌锋导演计划为台湾当代许多坚守岗位，默默从事艺术创作的工作者进行纪录片拍摄的首部作品。本纪录片的受访主角陶艺家林锦钟，就像是武侠小说中身怀绝世武艺的无名扫地僧，等待一动而天下惊。他致力研究自宋代以后已失传800年的曜变天目碗烧制技术，长达数十年的研究与烧制，凭藉现代科学知识，却采用最难掌握的传统柴烧，迄今已烧制超过1000窑次。林锦钟试图破解秘密，并转化为可以准确控制的系统知识，作为未来传承的基础。这也让他创作出个人标记强烈的极光系列作品，在温润的陶器上出现了金属流动线条，宛如极地夜空中惊人的极光⋯⋯。纪录片中，除了跟随拍摄林锦钟的创作之路外，更同时以宏大的史观，将曜变天目碗所蕴含的东西方历史文化，透过林锦钟的坚持与投入，使得这项几近失传的技艺再度衔接，俨然已为当代艺术、文化历史写下极其重要的一扉。林锦钟老师是位陶艺家，亦是一名科学家；当然也是个职人，更是文化传承的使者。看着窑里燃烧的火光，宛如炙热的青春与生命，只为捕捉瞬间却已永恒的风景。

十年以前的1994年，矿镇下岗潮袭来。对于正值青春年少，且纷纷考上心仪大学的青年梅苇、刘白、雷富贵来说，并没有什么感觉。他们还是最好的韶华，最好的朋友，看电影、拍毕业照、吃着最好吃的冰棍。同时也面临着自己的少年维特之烦恼。刘白父亲刘波下岗待业，还要面临刘白上学的学费问题。三个少年，相聚矿镇最高的水塔，分享着烦心事，无意看到刘波骑着摩托进了山。刘白担心爸爸是又要去偷电缆，拉上梅苇和雷富贵一探究竟。三个少年跟踪刘波进了山里，正好撞见刘波抢劫运钞车，并枪杀三煤厂的会计和司机。刘波发现了他们，他们被迫还击，争执中枪杀了刘波…… 时间来到2004年。矿镇迎来了最后的动迁。三天后，矿区的所余居民、厂矿机关和医院学校等也将迁出安置。人们即将告别抬头黑烟遮日、低头煤灰满地的日子。在政府的组织下，三天后动迁工程必须收尾。最忙最乱最关键的三日攻坚，尤以矿区公安分局为重，全部的警力几乎都扑在搬迁工作和积案交接上。

Eva, an upper-class housewife, frustratedly leaves her arrogant husband and decides to enter the call girl business. She lets Yvonne, a prostitute, teach her the basics and both set out for prey together, until Eva starts an affair with Chris, who turns out to be a call boy, as well. Consequently, she moves into his penthouse, large enough for both to offer their services separately

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这部4集电视剧，讲述了在一个被德国占领的村庄里，由Anna Morozova领导的抵抗小组不断取得胜利，但最终他们为此付出了沉重的代价。

宿舍熄灯后，我刷到一条新闻，上面的内容说，附近有一个杀人犯在逃，在隔壁学校杀了好几个人，这个杀人犯极其厉害，会制造幻觉，如假的火灾，在痛下杀手，我以为是某个人再搞恶作剧，又或者是某个人在为了获得流量，通过恶搞来获取快感，我对此非常不屑，就在我准备睡觉时，收到了宿管阿姨的私信，【宿舍一楼发生火灾，请马上离开】

派玛拉（珍妮·提恩坡苏皖 Janie Tienphosuwan 饰）和阿洁（潘普·斯棠 Sitang Punpop 饰）是青梅竹马的玩伴，两个女孩之间感情十分的要好。一天，一个名叫雷克（纳瓦·君拉纳拉 Nawat Kulrattanarak 饰）的男孩搬到了她们家隔壁。没过多久，雷克就喜欢上了个性开朗的阿洁，然而，阿洁却并不是很中意雷克，两人之间常常爆发争吵，每当这时，雷克都习惯向派玛拉倾吐内心里的郁闷。 某日，阿洁告诉雷克，自己爱上了一个名叫特德潘（路易斯·斯科特 Louis Scott 饰）的男人，她要和他结婚。派玛拉不离不弃的守候在心碎欲绝的雷克身边，渐渐的，雷克爱上了她，两人决定携手步入婚姻的殿堂。哪知道，在结婚典礼上，阿洁再度出现了。

Domestic difficulties develop in a working-class family when their daughter falls in love with a Jamaican. Made in the wake of the 1959 Notting Hill riots, Flame in the Streets (d. Roy Ward Baker, 1961), is a tense examination of racial prejudice. Adapted by Ted Willis from his own stage play Hot Summer Night, it had already been produced for television (ITV, tx. 1/2/1959) for the Armchair Theatre strand. In this screen presentation, Roy Ward Baker makes no allowances for liberal sensibilities and pulls few punches in delivering what he himself termed "a harsh picture". Baker's harshness, however, is not entirely without subtlety. He is careful not to be judgemental and much of what transpires is almost in the form of an exposé. Baker elicits a stirring performance from Brenda De Banzie as Nell, whose transformation from typical housewife and mother to snarling racist is the centrepiece of the drama. This is reminiscent of another Earl Cameron film, Sapphire (d. Basil Dearden, 1959), in which it is the sister of the main suspect who is finally revealed as the murderer, driven by a pathological hatred of black people. Peter Lincoln (Johnny Sekka) and Gabriel Gomez (Cameron) are driven by forces quite different from those that drive Kathie and her family, although this is not necessarily due to their cultural difference. Within the integrity of both black characters there is a sense of longing for something other, something as distant as it is difficult to express, and therefore never quite articulated. Gomez is especially keen to avoid conflict, even if this means accepting less than his ultimate worth. But his lack of assertiveness brings him into conflict with his wife Judy (Ann Lynn), who has to force him to attend the crucial union meeting at which his promotion will be decided. Rather than seize his opportunity, he would prefer others decided his fate. To a large extent this perception of West Indians died with the Notting Hill riots. Cameron's performance is assured and deliberate, while Sekka's Lincoln embodies the emotional consequences of the film - heartbreak and a sense of loss. Both characters are presented as martyrs to a higher cause. But in the end, as in reality, Gomez and Lincoln are forced to fight. Their main struggle, however, is with themselves, centred on their fleeting sense of belonging.

这部电影讲述了一个30多岁的女人和一个北非人的爱情故事的痛苦结局，以及她与一位“老牌”记者关系的开始和结束。这些故事说明了一个女人的绝对主张，她只能从生与死的角度来理解爱情，这种态度通常会让爱情看起来很戏剧化，但至少会像她心中燃烧的火焰一样燃烧和闪烁。