2004年，台湾首度爆发H5N2禽流感疫情时，政府坚称是候鸟传染给鸡只，但是经过调查，真相却是不肖业者走私禽流感病毒株，非法制造疫苗，在减毒失败后，造成大流行。本片将轮回在台湾学界、官僚系统那些明明看得到但却又不能说的秘密，一次披露。用深入浅出的方式将艰深的公卫知识化为常识，让大众明白每天围绕在身边的谎言与危机。

2004年，台湾首度爆发H5N2禽流感疫情时，政府坚称是候鸟传染给鸡只，但是经过调查，真相却是不肖业者走私禽流感病毒株，非法制造疫苗，在减毒失败后，造成大流行。本片将轮回在台湾学界、官僚系统那些明明看得到但却又不能说的秘密，一次披露。用深入浅出的方式将艰深的公卫知识化为常识，让大众明白每天围绕在身边的谎言与危机。

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.

被烧伤面容并丢失记忆的双面女主“苏伊”，在找寻掩盖的真相及遗失记忆的过程中，遇到甲方爸爸“李嘉尚”，居然是与自己烧伤事件相关的“青梅竹马”，随之而来双方上演了一出职场的套路与反杀、以及两人在调查真相过程中”势均力敌的默契，重新解构现代年轻人的爱情观和另类职场人生。

这是一个没有潜规则却处处是陷阱的时尚森林。女神苏伊初入职场，就遭遇了时尚圈各种光怪陆离的事件。面对冷面男神李嘉尚的追求，她的内心却埋藏着一个不能恋爱的秘密。其实，命运早在他们童年时就做好了安排。最终收获真爱的恋人，都会冲破一切不能恋爱的阻碍。

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

奥利维.麦卡东的《出口\Exit》描述了一个停尸房的青年收到心理控制而变成连续杀人犯，最后与另一个女杀人犯双双被人杀死