This military drama weaves together the diaries and memories of North Vietnamese soldiers who fought in the ferocious 1972 battle of Quang Tri.

毛頭小子阿傑與明凱撥開枯黃的玉米田，跋山涉水攀上平房屋頂，輪流以小望遠鏡偷窺正在沐浴的妙齡女子。明凱對遠天嘶吼「成就達成」，彷彿證明自己在轉大人的清單上又少了一項挑戰。兩人偷抽阿傑私藏的香菸，在越級打怪之餘，沒料到代價卻也隨之而來。

“我们的记忆中充满了不同的味道。让我们回到第一次见面的那一天，好吗？”对于两位女孩来说，这是一次新鲜的冒险。她们决定深入记忆，寻找那些气味。通过照片、音乐和对话在这个时长两分钟的混合了图片与影像的风格之作中讲述她们的爱情故事。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

故事发生在1965年的斯德哥尔摩，一场舞会上，年轻的少校尼尔斯（萨穆埃尔·弗洛勒 Samuel Fröler 饰）邂逅了名叫安娜（特赖恩·帕里森 Trine Pallesen 饰）的女子，两人之间燃起了熊熊的爱火，为了能够和安娜待在一起，尼尔斯不惜违抗了军令，偷偷将安娜带回军营，最终，这一举动被长官发现了，尼尔斯一怒之下带着安娜离开了部队，两人几经辗转来到了一座位于哥斯达黎加的温暖小岛上。 　　尼尔斯对植物有着非常强烈的兴趣，这座宛如世外桃源一般的岛屿恰恰好满足了尼尔斯的所有要求，尼尔斯和安娜在这里开始了仿佛亚当和夏娃一样的自由生活。没过多久，两人就发现，住在这座岛上的，还有一群淳朴善良的土著，然而，岛上小镇里的哥斯达黎加人却对这群原住民进行了残酷的迫害。

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

是一篇小說，是一部電影，是一個關於感情追索的故事，是一段發生在喧囂城市角落的末世神話。 　　末世，也是新生。 　　據說，一個人一生中要經歷三次「青黃不接」的階段，經歷過這三次，人生就無所畏懼了！ 　　那什麼是「青黃不接」呢？是一種滋味？還是一種矛盾？是一種標準的認定與抉擇？還是身體發育期的尷尬？ 衰老與青春的交接？ 　　這些關於「青黃不接」的猜測都成立，而「烏鴉燒」正好就是一個叫做RD的中年男子（黃健瑋飾演），在毫無預警的情況下，同居七年的未婚妻心潔（姚以緹飾演）遭遇職災，這場職災沒有任何人死亡，卻讓RD跟心潔都陷入一種「半死不活」的狀態。 　　故事就發生在這半死不活的100天。 　　如果說「物以類聚」「天下烏鴉一般黑」這個說法是真的，RD在這100天碰到的小男孩（白潤音飾演）、勞保局老志工（唐川飾演），也會有天下烏鴉一般黑的「半死不活」嗎？如果，照傳說「男人都是靠下半身思考」的邏輯下思考，身體寂寞的100天，你遇到小你至少十五歲的戲服店女孩Ａngie（安唯綾飾演）與穿洞穿環男孩小木（陳冠瑋飾演），寂寞的身體又會擦出什麼樣的狀態？ 　　如果說這些寂寞，會吸引另一種寂寞，曾經一起是同事又相互理解的秀秀（廖苡喬飾演），會不會在此刻，彌補你的缺憾，或成為你過去存在唯一的證明？ 　　「烏鴉燒」由作家高翊峰改編自己的同名小說，改編後的烏鴉燒增加了一個叫做PINK的角色，PINK這個角色如這個顏色一樣，不止青黃不接，也在性感與甜美、殘忍與悲憫間遊走，更需要加註重點的是，必須由飾演「心潔」的演員，同一人扮演。這使原本在紙本閱讀的文學性，在戲劇的呈現上，每個角色都多了一種真真假假的曖昧？ 　　你我，是不是也如此呢？