Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

神秘瘟疫摧毁了地球并把大部分的人类变成了吃不饱的嗜血动物，多年之后，一个离群索居的漂流者在猎杀变异人的途中在一个废弃的警察局里与一群幸存者偶遇，然后不情愿地同意尽力保护他们帮助他们逃往庇护所。

莫青春，本名哈山的巴基斯坦裔难民男孩，一心想与家人移民加拿大，父亲却车祸死亡；陈白日，七零年代偷渡到港的计程车司机，与儿子关系疏离。哈山因涉入黑帮，不得不偷渡逃亡，意外获白日相助，只是追捕的警察，正是白日的儿子陈康，而白日帮助哈山的理由，也非哈山所能承受之重。导演刘国瑞长片首作，以特殊难民题材揭开香港的隐秘暗角，影帝黄秋生搭档巴裔素人男孩林诺，演出另类公路父子情。

莫青春，本名哈山的巴基斯坦裔难民男孩，一心想与家人移民加拿大，父亲却车祸死亡；陈白日，七零年代偷渡到港的计程车司机，与儿子关系疏离。哈山因涉入黑帮，不得不偷渡逃亡，意外获白日相助，只是追捕的警察，正是白日的儿子陈康，而白日帮助哈山的理由，也非哈山所能承受之重。导演刘国瑞长片首作，以特殊难民题材揭开香港的隐秘暗角，影帝黄秋生搭档巴裔素人男孩林诺，演出另类公路父子情。

Clayton has a problem with his roommate Brian... he's secretly in love with him! Blinded by passion, he can't tell the difference between his daydream fantasies and reality. Can he control his desire or will he cross the line?

一位游轮酒保邂逅了一位神秘的日间饮酒者，但两人都发现自己卷入了犯罪活动，并以意想不到的方式联系在一起。

宋轻韵一直以为与港城太子爷梁宥津只是商业联姻。她帮他得到继承权，她靠他得到宋氏集团的控制权，没想到，一次意外，两人发生了关系。她不知道自己的老公梁宥津暗恋了她七年，娶她是蓄谋已久。

在一次刷抖音的时候，偶然间看到了王哥的视频报道，我诧异于在繁华都市中竟还有这样“底层”的存在。对于我而言，他们的个体身份具备强烈的时代特征，在直播经济、网红经济的加持下，传统意义下的“无业游民”变质为“新时代游民”，他们渴望踏上时代的列车，实现阶级跨越。比较有趣的是，由于王哥、谢哥居无定所，他们就像“候鸟”不停迁徙，以至于每次去找他们的时候就像是在开盲盒，你永远不知道这次的位置到底会有多隐蔽......

《黄尘白日》的构想则来自导演个人的生命体验，聚焦中年女性的内心情感世界。片中的中年女性在丈夫缺席儿子出走的情况下，最终找到了属于自己的人生空隙。