七色大陆上，二十多年前，一种从未出现过的负极生物席卷了整个世界，人们在另一个维度的负极世界捕捉到了新型生物的信息，并将它命名为“负极魇魔”，自此人类成立了“负极猎人协会”与负极入侵者展开了长久的战争。在人类与负极生物的第一次大战过去二十年后，曾经的最强猎人江叶流的儿子江原野也成为了一名新的“负极猎人”，同时负极生物也在暗中计划着新的一轮反扑，故事就此展开。

讲述了两对夫夫的爱情和碰撞。不管多远多近，它们只为彼此而存在。俊和富是从幼儿园就一起长大的好朋友。他们不仅是青梅竹马，甚至在同一家公司工作，直到一场事故动摇了两人。Plus是一个自由奔放的调酒师，Jane是一个离了婚无法放下过去的人，经营着一家自助洗衣店。一天，自助洗衣店老板偶然 发现了酒保丰富多彩的夜生活。两者碰撞，慢慢实现彼此内心的渴望。~~台日合拍 　　It tells the love and collision of two couples. No matter how far or near, they only exist for each other. 　　Jung and Fu are good friends who have grown up together since kindergarten. Not only are they childhood friends, they even work for the same company until an accident shakes the two. Plus is a free-spirited bartender and Jane, a divorcee who can't let go of the past, runs a laundromat. One day the laundromat owner stumbles upon the colorful nightlife of the bartender. The two collide and slowly realize each other's inner desires. 　　~~ Co-production between Taiwan and Japan.

讲述了两对夫夫的爱情和碰撞。不管多远多近，它们只为彼此而存在。俊和富是从幼儿园就一起长大的好朋友。他们不仅是青梅竹马，甚至在同一家公司工作，直到一场事故动摇了两人。Plus是一个自由奔放的调酒师，Jane是一个离了婚无法放下过去的人，经营着一家自助洗衣店。一天，自助洗衣店老板偶然 发现了酒保丰富多彩的夜生活。两者碰撞，慢慢实现彼此内心的渴望。~~台日合拍 　　It tells the love and collision of two couples. No matter how far or near, they only exist for each other. 　　Jung and Fu are good friends who have grown up together since kindergarten. Not only are they childhood friends, they even work for the same company until an accident shakes the two. Plus is a free-spirited bartender and Jane, a divorcee who can't let go of the past, runs a laundromat. One day the laundromat owner stumbles upon the colorful nightlife of the bartender. The two collide and slowly realize each other's inner desires. 　　~~ Co-production between Taiwan and Japan.

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

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

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?

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

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?