This is the story of people who have gone past us. There is a place to go: 190 miles S.E. of LA and 129 feet below sea level where they have no running water, no electricity. This is the story of Ken and Lily, of Carol and Wayne, of Mike, Cindy, and Sterling. The film covers four years of their lives. They live below sea level, the place where all the debris, physical and mental, of our times comes to rest and is preserved in the dry desert air. No one can drop lower than this ground and only on this ground, it seems, can people finally see the future. The place looks like the apocalypse and feels like home. 　　烂番茄小组： 　　http://www.douban.com/group/rottentomatoes/

'Latitudes', a modern love story shot in 8 different countries, tells the story of Olivia (Alice Braga) and Jose (Daniel de Oliveira), two travellers who have one-night stands in legendary hotels every time they meet accidentally as they wander around the world on business trips. At first an idealised, secretive relationship by two jet-setters, the story becomes one of how to cope with all the real life challenges waiting for the two outside the hotel room. Written by Anonymous

'Latitudes', a modern love story shot in 8 different countries, tells the story of Olivia (Alice Braga) and Jose (Daniel de Oliveira), two travellers who have one-night stands in legendary hotels every time they meet accidentally as they wander around the world on business trips. At first an idealised, secretive relationship by two jet-setters, the story becomes one of how to cope with all the real life challenges waiting for the two outside the hotel room. Written by Anonymous

《纬度》(Latitud) 是扬·科奈特的第一部短片作品，故事主要发生在疫情期间，儿子荷西回到家中照顾父亲冈萨罗，旧的记忆和未解决的冲突将在不确定性和恐惧的催化下产生。 　　扬·科奈特在这部影片中尝试去探讨疫情时代的亲子关系，引发我们多角度地反思人们处于医疗卫生事件中如何去实现关系的回温。影片让观念差异的父子处于同一时空，混乱的场景设置，让父子距离彼此更进一步。

This is one of the films that came out of a rejection of expressive camera work, sound, language, editing. I wanted to offer a rich experience of phenomena and associations that could come from a continuous moving image the length of a roll of film. The scene is a space of ceremony, of an offering. This is the world of my house in the country, of my marriage to a potter whose bowl represents her. She is the actor. There are actions that have to do with the transformation of ears of corn into sustenance. These actions take place within a space/time theater of slow continuous changes of light and shadow. There are long spaces where the viewer is free to look at various parts of the screen and, with the steam that rises from the cooked ears, into the very grains of the film itself. The sinuous dance of steam is a counterpart to the fog of FOG LINE. The two films are joined.

故事以两支攀登珠峰的探险队为主线，这两队人马分别由罗布-霍尔（杰森-克拉克饰，）和史考特-费雪（杰克-吉伦哈尔饰）带队，这两人都是世界著名登山家，…

由罗布·霍尔 （ 杰森·克拉克 饰）和史考特·费雪 （ 杰克·吉伦哈尔 饰）带队，两人都是世界著名登山家，其中史考特·费雪是第五次攀登珠峰。不幸的是他们在登山过程中遭遇了特大风暴，在这场灾难中，8位登山者不幸丧生。贝克·威瑟斯 （ 乔什·布洛林 饰）是一名医生，一名来自西雅图的登山者道格·汉森 （ 约翰·哈克斯 饰），因为他的登山速度缓慢，给团队带来了灾难性的麻烦 。

Considering the underground as both a metaphor and a manifest reality, Zheng’s film Sinking Latitude focuses on a myth about underground flooding. The city where the story takes place has a history of salt mining that spans more than 2000 years, and generations of residents who have lived there have passed down a prophetic myth for centuries–that due to excessive mining, the city's underground has long been hollowed out and depleted, filling with salty brine, and that one day, when an earthquake occurs, an underground flood of salty liquid, the mine itself, will surge out and engulf the city. 　　Zheng’s film takes the form of a fictional dialogue between three characters—puppy, master, and dinosaur—as they discuss this myth. The master has lost their memory of the flood myth, and the puppy takes on the task of recovering this memory with the help of the dinosaur, who represents the impact of time on reality. Through their conversations and questions, the group begins to uncover how the fear of an unknown disaster has affected their perception of the world. The film traverses different locations, making the underground visible, and providing views of cityscapes, a site of dinosaur fossils, salt wells, an abandoned salt factory and its residencies, and sequences of miners using archaic techniques within a salt mining museum, at once performing and working. The landscape is viewed as a perforated body that is littered with debris and risk, with the wells at once towering and deeply rooted in the ground. This documentary-like footage is integrated with scenes shot in the studio or borrowed from the internet, as well as black and white still images of dinosaur bones, and animated footage of the puppy and flooded underground landscapes implying the oncoming future. Indeed, Sinking Latitude continuously crosses temporalities, merging deep time with lived time, recalling past events while also reflecting on relationships in the present, and nervously discussing the uncertain catastrophe that lies ahead. Imagining a hollow and flooded world of liquid salt, Zheng’s film fractures notions of time, agency, and visibility, charting both a feeling of groundlessness, and a fluid bond between geology, biology, and biography. The narrative certainly prompts a reflection on the increasing climate catastrophe and apocalyptic thinking, yet it is more a rumination on time and places where myths, identities, and communities come together, where memories are formed, congealed, and concretized, and realistic fears are displaced as stories. Here, myth is shown to be intimately tied to memory, not only a personal or collective, but also primeval and hydrological.

由王珞丹主演，王小帅导演的《玉米人》以留守儿童的故事为主线，讲述了当下中国农民与土地的关系。

由王珞丹主演，王小帅导演的《玉米人》以留守儿童的故事为主线，讲述了当下中国农民与土地的关系。