田中裕二是一个日本的牧场主，在福岛核事故中他失去了自己的农场和全部的牲畜。为了改变他的生存状况，并重新追寻他长期以来生产美味牛乳的梦想，田中给美国政府制作了一段视频，请求给予他和他的奶牛一个去美国开始新生活的机会。 　　Yuuji Tanaka is a Japanese dairy farmer whose land and animals have been completely ruined by the Fukushima nuclear disaster. Desperate to change his livelihood and resume his long-time dream of making delicious milk, Tanaka makes a video to show to the American government, pleading for a chance for him and his cows to go to the U.S. and start a new life. 　　 　　王岸生于中国北京，他曾在加州的查普曼大学学习电影，并在马萨诸塞州州立大学学习创意写作。他曾做过自由撰稿人和摄影师。《田中的开心农场》是他的首个电影项目。 　　Ian Wang was born in Beijing, China. He studied Film Directing at Chapman University in California, and Creative Writing from the University of Massachusetts, Amherst. He has worked as a freelance writer and photographer. Tanaka’s Happy Farm is his first film project.

美国肯塔基州的Druid Hills以出产大量的玉米为名，但在这里发生了怪异的事情。玉米田中出现了遭受怪物攻击的受害者，而目击者说怪物是「在玉米田中游来游去的大白鲨」！同时，用鲨鱼的下颚和尺齿当凶器杀了数十人的连环杀手Teddy BoLucas被逮捕了。警长Vera Scheider（夏侬史塔汀 Shannon Stockin 饰）想确认她失踪的双胞胎姊妹Lorna是否也遭到他杀害。Teddy同意带Vera前往他主要弃尸地点之一的玉米田，一连串疯狂无法预料的事情接连发生。DruidHills的居民被迫对上一群崇拜鲨鱼的邪教狂徒，这群狂徒计划要征服世界，就从一座一座的玉米田开始下手！他们的守护者是在玉米田中游来游去的鲨鱼！

"The Farm" is a horror film about two brothers (Sean and Mark) on their way to visit their father in a remote location. While the time and weather are against them, the brothers decide to stay at a B&B on a farm. By the time they realize that something isn't quite right, it is far too late.

"Ranchlands" is an LGBTQ drama about an urbane, yet lost gay man who returns to his estranged Christian family to care for his ailing brother - and finds romance with a queer ranch hand.

"The Farm" is a horror film about two brothers (Sean and Mark) on their way to visit their father in a remote location. While the time and weather are against them, the brothers decide to stay at a B&B on a farm. By the time they realize that something isn't quite right, it is far too late.

In an effort to do something different| four friends head into Australia's outback to explore Charlie's Farm| the site where a violent family met their end at the 　　hands of an angry mob. Despite all warnings| they persist in their horror-seeking adventure.

A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.