萨比格尼·瑞比克金斯基导演1988年制作的《Fouth Dimension》是一部极具视觉观赏性的影片，静物和人体都可以在思维空间中扭曲，特别是一对男女相拥时周围出现DNA的双螺旋结构，极富艺术感。浮动的精子、贝壳等性的象征物表现出阴阳结合的自然美好，歌颂了造物的神奇。

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

“Created under a ‘manifesto’ whose directives would make Lars von Trier shudder, this three-part film might look on paper like an exercise in forced hipness. Working under orders tall, whimsical (according to the manifesto, a stuffed animal must make an appearance no matter what) and surreal, Korine’s Lotus Community Workshop drops Val Kilmer in an alternate-universe existence as a BMX-riding motivational speaker with a fanny pack. Fedorchenko’s Russia-set Chronoeye spins the tale of a grumpy inventor whose noisy neighbor interrupts his time-travel experiments. And Kwiecinski’s eerily beautiful Fawns follows a quartet of friends as they prance through an empty Polish town seemingly unconcerned about the deadly flood about to overtake them.”

Acclaimed filmmaker Trinh T. Minh-ha ventures into the digital realm with her stunning feature, THE FOURTH DIMENSION, an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh's previous films, her film is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making. 　　THE FOURTH DIMENSION is an elegant meditation on time, travel, and ceremony in the form of a journey. In her first foray into digital video, Minh-ha deconstructs the role of ritual in mediating between the past and the present. She explains, "Shown in their widespread functions and manifestations, including more evident loci such as festivals, religious rite and theatrical performance, 'rituals' involve not only the regularity in the structure of everyday life, but also the dynamic agents in the world of meaning." With its lush imagery, Minh-ha's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light. 　　“Trinh T. Minh-ha’s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. In THE FOURTH DIMENSION, Trinh’s lyrical narration guides us through ‘Japan’s likeness,’ the perfected framing of the sacramental familiar.” - Steve Seid

女建筑师x直男癌老板未婚妻 就说这么琼瑶玛丽苏的Cp你吃不吃吧！ 　　该网剧原是Maaya系列剧的第二季，但第一季和第二季剧情并不相关。第二季是全新的百合les故事！ 　　性取向为弯的女建筑师Ruhi才华非凡，从美国回到印度后，在一家建筑公司工作，长期受到直男癌老板打压。 　　一次 偶然间在酒吧遇见了女歌手Simmi，被她美丽的歌喉所吸引，从此一见倾心并念念不忘。 　　原以为是一场梦幻般的相遇，忽有一日，二人再次重逢，未曾想Simmi竟是直男癌老板的未婚妻。 　　是老天的安排还是命运的捉弄？如每晚8点档的狗血剧情就要上演！ 　　不不不，这个夏天，让我们跟随Ruhi的脚步扛起“女权主义”（原剧直男癌老板一直说她是女权主义者）的大旗， 　　谈一场惊天动地的恋爱！抱得美人归！

女建筑师x直男癌老板未婚妻 就说这么琼瑶玛丽苏的Cp你吃不吃吧！ 　　该网剧原是Maaya系列剧的第二季，但第一季和第二季剧情并不相关。第二季是全新的百合les故事！ 　　性取向为弯的女建筑师Ruhi才华非凡，从美国回到印度后，在一家建筑公司工作，长期受到直男癌老板打压。 　　一次 偶然间在酒吧遇见了女歌手Simmi，被她美丽的歌喉所吸引，从此一见倾心并念念不忘。 　　原以为是一场梦幻般的相遇，忽有一日，二人再次重逢，未曾想Simmi竟是直男癌老板的未婚妻。 　　是老天的安排还是命运的捉弄？如每晚8点档的狗血剧情就要上演！ 　　不不不，这个夏天，让我们跟随Ruhi的脚步扛起“女权主义”（原剧直男癌老板一直说她是女权主义者）的大旗， 　　谈一场惊天动地的恋爱！抱得美人归！

年轻漂亮的玛雅（迪帕•萨伊饰）对生活充满幻想和欲望。一天，她的父亲摔下楼梯弄伤了腿。一个年轻的乡村医生（法路克•谢赫饰）来医治。温柔的爱之花在绅士的医生和玛雅之间绽放，他们结婚了。 　　开始新生活的最初是令人兴奋的，重新装饰房间，以及对归属感的体会，都让玛雅感到幸福愉悦。但渐渐婚姻生活单调的一面渐渐展现。乏味的小城镇里，中产阶级沉闷的生活令人无法忍受，玛雅发现并选择进入一系列的婚外情。与此同时，她还渴望更多彩的生活带给她更梦幻的浪漫和激情体验。 　　她以奢侈为乐，希望拥有豪华享受以获得满足，但那只给她带来欺诈，债务和绝望。甚至她的婚外情关系，由起初的柏拉图，到激情，到最后变为可悲的占有欲，也使她意识到婚外情也和婚姻一般平庸无趣。这更使玛雅对现实灰心，进一步滑向她的幻觉。 　　她一直追逐自己创造的海市蜃楼直到她的悲喜与无畏连同魔法一起落幕。故事用一种倒叙的方式叙述了玛雅生活的改变。 　　电影结局当她的房子被拍卖，玛雅似乎也完全被她幻想的生活所吞没。

复仇永远不会太晚——即使过去了15年。玛雅已经等待了15年。现在，她回来了，要逐个击垮那个毁了她的家族——没有人能逃脱她燃起的怒火。