清朝晚期，乱世之秋，老北京的戏园子却仍是一派繁荣景象。新出科的谭鑫培拒绝了父亲为其规划的平稳未来，毅然投入到竞争异常惨烈的京城菊坛。梨园这一行，虽然是靠本事吃饭，但相互猜忌、勾心斗角的事儿也不少，谭鑫培少年英才，也难逃被人设局陷害的怪圈。因着一杯关涉伶人尊严的酒，致使谭鑫培父子被赶出广和成，在京城梨园行声名狼藉。命运的巨变，驱使谭鑫培和其他人有了交集：大老板程长庚工文武老生，艺术精湛，备受推崇，谭鑫培视其为人生偶像，但受多方因素影响，程长庚认定谭鑫培不能唱老生。在他经历了走粥班，战胜倒仓后，谭鑫培终于对老生这一行当有所悟，却因天生嗓音条件所限，被程长庚称之为“亡国之音”，谭鑫培倍受打击。知己张秀卿的出现，再次唤起了谭鑫培的斗志，终于找到表达自我的方式，谭派老生由此诞生。进入清廷成为内廷供奉，开启了谭鑫培艺术人生最为辉煌也最为凶险的篇章。在与晚清权贵的斗智斗勇过程中，他既要保护亲情友谊，又要维护内心的美好，同时与自身的怯懦、自私相抗衡。时代的苦难与内心的痛苦相互激荡，把他推上事业辉煌的顶峰，“时代之音”在舌尖灿烂绽放。在这一时期，面对重商轻义的人际关系、浮夸的舞台表演，经历了又一轮迷惘与消沉之后，他重新登上舞台，秉承着传统价值观的核心思想——忠孝礼义，开始了新一轮的个人战争，而晚清政权，也在此时走向了风雨飘零的末日……

清朝晚期，乱世之秋，老北京的戏园子却仍是一派繁荣景象。新出科的谭鑫培拒绝了父亲为其规划的平稳未来，毅然投入到竞争异常惨烈的京城菊坛。梨园这一行，虽然是靠本事吃饭，但相互猜忌、勾心斗角的事儿也不少，谭鑫培少年英才，也难逃被人设局陷害的怪圈。因着一杯关涉伶人尊严的酒，致使谭鑫培父子被赶出广和成，在京城梨园行声名狼藉。命运的巨变，驱使谭鑫培和其他人有了交集：大老板程长庚工文武老生，艺术精湛，备受推崇，谭鑫培视其为人生偶像，但受多方因素影响，程长庚认定谭鑫培不能唱老生。在他经历了走粥班，战胜倒仓后，谭鑫培终于对老生这一行当有所悟，却因天生嗓音条件所限，被程长庚称之为“亡国之音”，谭鑫培倍受打击。知己张秀卿的出现，再次唤起了谭鑫培的斗志，终于找到表达自我的方式，谭派老生由此诞生。进入清廷成为内廷供奉，开启了谭鑫培艺术人生最为辉煌也最为凶险的篇章。在与晚清权贵的斗智斗勇过程中，他既要保护亲情友谊，又要维护内心的美好，同时与自身的怯懦、自私相抗衡。时代的苦难与内心的痛苦相互激荡，把他推上事业辉煌的顶峰，“时代之音”在舌尖灿烂绽放。在这一时期，面对重商轻义的人际关系、浮夸的舞台表演，经历了又一轮迷惘与消沉之后，他重新登上舞台，秉承着传统价值观的核心思想——忠孝礼义，开始了新一轮的个人战争，而晚清政权，也在此时走向了风雨飘零的末日……

新加坡海岸线上的填海工地，工人王必成失踪了。两名警探闻风而至，在工地周围四处探询王必成的踪影。躁郁的氛围、失眠的夜晚，警探在梦里见到王必成身影，而令人不安的真相，也将在虚实难辨的湿热幻境中揭开。 在虚实难辨的故事结构中，揭开新加坡沿海无证移工的生存困境。黑色电影的基底下，萨克斯风音乐、霓虹光线交错，切换视角的叙事方法，打造如梦似幻的空间感。故事背景极度写实，影像风格却忧郁抽离，带领观众远离对新加坡的刻板想象，在破碎消散的时间感中，探向当代新加坡的真实焦虑。

《幻土》属惊悚题材，剧情讲述两位警察追踪一名在本地填海工地工作的外藉劳工时，忽然失联。宏荣扮演前CID探员，在查案及寻找失踪客工的过程中，由于太投…

Hilarion Zabala, a former master sergeant, is tormented by a strange smell. The diagnosis is phantosmia, i.e. olfactory hallucinations, where he perceives smells that do not actually exist. His doctor attributes this to past trauma and recommends that he confront and recall his dark military service period as a solution. Zabala, willing to take on any task, voluntarily visits a military base and is eventually assigned to a remote island penal colony. However, another horrific reality awaits him there. 　　From religious bloodshed to human rights abuses against women, the various forms of violence created by humans are still structurally and routinely pervasive. How can justice and salvation be achieved in an age of violence? Can violence used to prevent violence ever be justified? Deep anguish is reflected through the contemplative black-and-white imagery. (BOO Kyunghwan)

Hilarion Zabala, a former master sergeant, is tormented by a strange smell. The diagnosis is phantosmia, i.e. olfactory hallucinations, where he perceives smells that do not actually exist. His doctor attributes this to past trauma and recommends that he confront and recall his dark military service period as a solution. Zabala, willing to take on any task, voluntarily visits a military base and is eventually assigned to a remote island penal colony. However, another horrific reality awaits him there. 　　From religious bloodshed to human rights abuses against women, the various forms of violence created by humans are still structurally and routinely pervasive. How can justice and salvation be achieved in an age of violence? Can violence used to prevent violence ever be justified? Deep anguish is reflected through the contemplative black-and-white imagery. (BOO Kyunghwan)

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)

在一片静谧孤寂的山谷中，藏族小伙多吉四处游走，他遇见一位年轻的姑娘，或许那是他故去多年的外婆......他想在这个空间里停留，姑娘却消失了，就像时间消失了一样......

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)