延宇是曾经製作过脍炙人口作品的导演，但自此之后，他便没再交出漂亮的成绩单，这也让他的职涯遇到极大的瓶颈。某个机缘下，延宇前往拜访一位当红的网路小说家，希望能改编他的畅销作品，而没想到这位作者正是失联多年的宇载！过往的恩怨使两人分道扬镳，如今再次重逢，他们会顺利化解误会，成为彼此的美好结局吗？

婚礼前夕，祝愿亲眼目睹青梅竹马的许岁见惨死，崩溃失忆，唯独忘记了他。三年后，当她决定接受新感情时，却突然回到他们定情的圣诞夜。她发现，每当许岁见说出"我爱你"后就会死亡，而这是循环的终点。为改写结局，她甘愿献祭所有记忆，却在一次次轮回中发现——原来许岁见也在用生命守护着她。这场跨越生死的救赎，最终要付出怎样的代价？

在挚爱玲司处于人生低谷时，美咲选择离他而去。五年过去，玲司摇身一变成为亿万富翁，打算收购美咲所在的公司，还企图让她的生活陷入困境。美咲是否要向玲司道出当初分手的真正缘由？亦或是，重拾旧爱的契机已然错过？

美咲在挚爱玲司人生低谷时选择了离开他。五年后，玲司成为亿万富翁，打算收购她的公司，并企图让她的生活陷入困境。她是否应该告诉他当初分手的真正原因？还是说，重拾旧爱的机会已经太晚了？

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

在地球第六次大规模死亡中，人类灭绝了。他们的技术最近已经取得了进步，能够解构进化算法，让人造生命在地球上发展。新的生命会觉醒，学会看，并试图理解。它发现了人类的电影史，并通过对其的反思，开始获得对自身的认识和对神的信仰。可以说，人工角色是去电影院的，在那里我们可以共同看到机器学习和其他针对纹理的图像分析算法生成的图像。我们和我们的世界不能完全简化为物质的信仰，事实上还有另一种形式，深深地铭刻在我们自己的计划中，定义了我们的思想。自然是根据构成我们宇宙的物质来计算的，还是宇宙是计算的结果？数字的存在是独立于一个人的意识，还是虚构的？数学对象及其概念是以我们讲故事的方式创造的吗？雷纳·科尔伯格评论道：“它必须活一次，做两次梦。” 　　‘In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. New life awakens, learns to see and tries to understand. It discovers the film history of humankind and through reflection thereof, begins to gain an awareness of itself and to believe in their gods. The artificial character goes to the cinema so to speak, where we collectively see images produced with machine learning and other image analysis algorithms used against the grain. The belief that we and our world cannot be solely reduced to matter, that there is in fact another form, is deeply inscribed in our own program and defines our thinking. Does nature calculate on the basis of the stuff that makes up our universe, or is the universe the result of calculations? Is the existence of numbers independent of one's own consciousness, or are they fictional? Are mathematical objects and their concepts created in the same way in which we tell stories? It has to be lived once and dreamed twice,’ comments Rainer Kohlberger

在地球第六次大规模死亡中，人类灭绝了。他们的技术最近已经取得了进步，能够解构进化算法，让人造生命在地球上发展。新的生命会觉醒，学会看，并试图理解。它发现了人类的电影史，并通过对其的反思，开始获得对自身的认识和对神的信仰。可以说，人工角色是去电影院的，在那里我们可以共同看到机器学习和其他针对纹理的图像分析算法生成的图像。我们和我们的世界不能完全简化为物质的信仰，事实上还有另一种形式，深深地铭刻在我们自己的计划中，定义了我们的思想。自然是根据构成我们宇宙的物质来计算的，还是宇宙是计算的结果？数字的存在是独立于一个人的意识，还是虚构的？数学对象及其概念是以我们讲故事的方式创造的吗？雷纳·科尔伯格评论道：“它必须活一次，做两次梦。” 　　‘In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. New life awakens, learns to see and tries to understand. It discovers the film history of humankind and through reflection thereof, begins to gain an awareness of itself and to believe in their gods. The artificial character goes to the cinema so to speak, where we collectively see images produced with machine learning and other image analysis algorithms used against the grain. The belief that we and our world cannot be solely reduced to matter, that there is in fact another form, is deeply inscribed in our own program and defines our thinking. Does nature calculate on the basis of the stuff that makes up our universe, or is the universe the result of calculations? Is the existence of numbers independent of one's own consciousness, or are they fictional? Are mathematical objects and their concepts created in the same way in which we tell stories? It has to be lived once and dreamed twice,’ comments Rainer Kohlberger