沈安落魄之时收到了一条来自未来自己的短信，让他趁着灵气复苏之前准备好去千灵山，吸收灵气为即将到来的全民修仙时代做准备。在未来自己三番两次的成功预言后，沈安终于相信开始准备前往千灵山吸收灵气，期间偶遇了特殊部门的美女白微微。白微微一行也在寻找灵气出现的地方，奈何比沈安晚了一步，所有灵气被沈安全部吸收。白微微察觉到沈安不是普通人一直派人跟踪监视，沈安身上的秘密也逐渐浮出水面，在未来自己的指引下，沈安找到了当初陷害自己的人并且成功报了仇，又帮助特殊部门重建了地球，保护了全民修仙时代的修士。

大晟朝长公主南宫棠遭背叛杀害后，穿越成现代财阀南宫家受辱的恋爱脑小姐，携千年帝王智慧与杀伐果断，霸气反击夺继承权的堂姐南宫影，打脸昔日轻视者。与暗脉大佬谢淮铭结盟，在校园、家族战场一路逆袭，破解难题、玩转金融、赢得武力考核，却在生死危机中发现，谢淮铭竟与前世杀她的叛徒面容一致。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 　　此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 　　此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

Synopsis 　　At a crowded airport, Ahlam, a 14-year-old mother, is running away from Baghdad, the only place she’s ever known. As she fights the shadows lurking around her, she reflects on her journey to reclaim her life. 　　Director’s statement 　　I have a recurring nightmare of running from a faceless man. When I plead for help, people ignore me. This reflects the normalisation of violence against women. Recently, a Jordanian woman named Ahlam was murdered by her father. Her name means “dreams,” like the protagonist of Shadows. Our Ahlam is a survivor. I met her while filming a documentary with teenage immigrant girls in Germany. She had run away from her family and wanted to share her story. Exposing Ahlam’s story posed ethical dilemmas, but her strength compelled me. Animation allowed us to recount her past and visualise her subjective point of view. Domestic violence and child marriage are rarely discussed unless tragedies occur. I want Shadows to expose injustices and pay tribute to Ahlam’s courage, highlighting her refusal to let her circumstances define her life’s journey.

Synopsis 　　At a crowded airport, Ahlam, a 14-year-old mother, is running away from Baghdad, the only place she’s ever known. As she fights the shadows lurking around her, she reflects on her journey to reclaim her life. 　　Director’s statement 　　I have a recurring nightmare of running from a faceless man. When I plead for help, people ignore me. This reflects the normalisation of violence against women. Recently, a Jordanian woman named Ahlam was murdered by her father. Her name means “dreams,” like the protagonist of Shadows. Our Ahlam is a survivor. I met her while filming a documentary with teenage immigrant girls in Germany. She had run away from her family and wanted to share her story. Exposing Ahlam’s story posed ethical dilemmas, but her strength compelled me. Animation allowed us to recount her past and visualise her subjective point of view. Domestic violence and child marriage are rarely discussed unless tragedies occur. I want Shadows to expose injustices and pay tribute to Ahlam’s courage, highlighting her refusal to let her circumstances define her life’s journey.