Two （Pop饰演）一个很有才华MV导演，因为有个帅气的男友Ping（Top饰演）引来无数人的嫉妒，Ping不仅帅气 还很贴心，无微不至的照顾着Two，他们经常在Two的公寓见面 翻云覆雨。 　　有一天，Ping因为在酒吧陪顾客，偶遇了女主Jan（Due饰演），一位把Ping的客人哄的很开心的酒吧女，Ping与Jan的关系也从那个时候开始频繁起来，Two虽然有怀疑，但无奈工作太忙，但也就不了了之了。知道Two的好友，Jess拿着Ping与Jan的合照给他看之后，Two这才开始重视，并有了一系列的考验这个帅气男友的计划 ，他们的爱情终究会走向何方？

Two （Pop饰演）一个很有才华MV导演，因为有个帅气的男友Ping（Top饰演）引来无数人的嫉妒，Ping不仅帅气 还很贴心，无微不至的照顾着Two，他们经常在Two的公寓见面 翻云覆雨。 　　有一天，Ping因为在酒吧陪顾客，偶遇了女主Jan（Due饰演），一位把Ping的客人哄的很开心的酒吧女，Ping与Jan的关系也从那个时候开始频繁起来，Two虽然有怀疑，但无奈工作太忙，但也就不了了之了。知道Two的好友，Jess拿着Ping与Jan的合照给他看之后，Two这才开始重视，并有了一系列的考验这个帅气男友的计划 ，他们的爱情终究会走向何方？

全片长35分钟。电影的中心内容就是关于六个人生命中最后一天的故事。每个人都在焦急地等待着“结束”。多数人是要自杀，有的仅限于隐喻意义上，但开头和结尾处的蘑菇云提醒大家，我们等待的是“人类的伟大自杀”。它告诉我们一个简单的事实，社会与个人的疾病是不可避免地纠缠在一起的。

灵媒在法庭宣誓，承认自己在为去世编剧通灵时说谎。所谓该编剧未完成剧本的下半段，是她当场创作出来的，因此她认为自己应获得该剧本一半的权益。

全片长35分钟。电影的中心内容就是关于六个人生命中最后一天的故事。每个人都在焦急地等待着“结束”。多数人是要自杀，有的仅限于隐喻意义上，但开头和结尾处的蘑菇云提醒大家，我们等待的是“人类的伟大自杀”。它告诉我们一个简单的事实，社会与个人的疾病是不可避免地纠缠在一起的。

靈媒上法庭宣誓，承認為去世編劇通靈時說謊，其未完成劇本的下半段，是她即場創作，因而應獲劇本一半權益。

一个真实的人物，一个虚拟的故事，因为我们从未见面，也再也不见。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?