The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间.....

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 　　取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。

Studio Pierrot根据黑泽明大师的名作《用心棒》改编的动画，把大师的电影变成了动画。 　　東京から北へ数百キロ離れた街・鬼無宿。物語は、この寂れた街に流れ者がやってきたところから始まる。男の名は谺丈二（こだまじょうじ）。腕っぷしが強く、度胸も桁外れで頭も切れる丈二は、街を二分する勢力、田野倉鉱業と銀鮫興産の両者の間に入って巧みに駆け引きを繰り返す。まるで両者の抗争を煽るように……。 　　―遡ること15年前、日本政界の黒幕と恐れられていた政治家の隠し財産が鬼無宿で忽然と姿を消した。田野倉鉱業と銀鮫興産は、この失われた隠し財産を巡って暗闘を繰り広げていたのだ。丈二はそんな両者の対立を利用し、事件の謎と真相を暴こうとする。 　　黒澤明監督の名作『用心棒』を題材に、大胆な解釈で現代風にアレンジされた作品。

Studio Pierrot根据黑泽明大师的名作《用心棒》改编的动画，把大师的电影变成了动画。 　　東京から北へ数百キロ離れた街・鬼無宿。物語は、この寂れた街に流れ者がやってきたところから始まる。男の名は谺丈二（こだまじょうじ）。腕っぷしが強く、度胸も桁外れで頭も切れる丈二は、街を二分する勢力、田野倉鉱業と銀鮫興産の両者の間に入って巧みに駆け引きを繰り返す。まるで両者の抗争を煽るように……。 　　―遡ること15年前、日本政界の黒幕と恐れられていた政治家の隠し財産が鬼無宿で忽然と姿を消した。田野倉鉱業と銀鮫興産は、この失われた隠し財産を巡って暗闘を繰り広げていたのだ。丈二はそんな両者の対立を利用し、事件の謎と真相を暴こうとする。 　　黒澤明監督の名作『用心棒』を題材に、大胆な解釈で現代風にアレンジされた作品。

The film centres on a random act of theft that has put Tom Hammond's life into a tailspin. Stolen from his bookshop is Tom's most treasured possession, a photograph of him with his son Luke...their last moment of shared happiness. THE LAST PHOTOGRAPH is set between London in 2003, and a dark night in 1988 when Pan Am 103 was blown out of the sky over Lockerbie.