一群年轻的朋友在一个废弃的矿井里有了一个难以理解的发现，但他们越是试图改变未来，就越是封死了自己的命运。

Mine is Kentridge's third film, although it is often shown by the artist as second in the series, before Monument (Tate T07483). It was made from eighteen drawings and is set to Dvorak's Cello Concerto in B minor, Opus 104. In it, Kentridge develops the analogy between landscape and mind begun in the earlier films. A journey into the mines provides a visual representation of a journey into the conscience of Kentridge's invented character, Soho Eckstein, the white South African property owner who exploits the resources of land and black human labour which are under his domain. Throughout the film the imagery shifts between the geological landscape underground inhabited by innumerable black miners and Soho's world of white luxury above ground. When Soho, breakfasting in bed, pushes down the plunger of his cafetière, its movement is transformed into a rapid descent through the tray, through the bed and into the mine-shaft. Here the miners' world of overwhelming misery is depicted in claustrophobic tunnels where they are trapped digging, drilling and sleeping, embedded in rock. Above ground, Soho sits at his desk in his customary pin-stripe suit and punches adding machines and cash registers, creating a flow of gold bars, exhausted miners, blasted landscapes and blocks of uniform housing. At the end of the film a tiny, live rhinoceros is carried up from underground to appear on Soho's desk. This, like the image of a Nigerian Ife head which appears at the beginning of the film, alludes to exoticising colonialist attitudes towards Africa and its people, which reduce human and animal resources to trinkets and symbols of wealth. It also refers to the ecological damage caused by industry, a theme common to this series of films.

伙伴集合准备一同外出探险，等待途中撞见陌生奇特角色，众人好奇跟上前去，却跟丢目标。大家分头行动，有人计划搜寻黄金，有人一心寻找钻石。休整完毕收拾好随身物资，结伴向着矿井进发。矿洞内意外发现珍贵黄金，宝物立刻引来争抢，有人抢夺宝物迅速逃窜，其余人奋起追赶，开启一场紧张又搞笑的宝物追逐博弈。

赵向南重生回到1988年，醒来就被家人逼迫替兄长下井。前世心软赴险，落得满身伤病，所得好处还被亲人夺走，落得悲凉结局。这一世他不再妥协，戳破家人的算计，果断离开偏心的家。靠着精湛维修手艺开店立足，在矿区踏实打拼，遇见温柔正直的宋玉梅，把握机遇扭转自己的人生。

二十年前唐月笙赠车票救下抵债少年韩峥。二十年后韩峥成能源董事长回乡，得知唐家因旧矿蒙冤，唐月笙遭赵家欺压。二人联手深挖线索，找到巷道图纸、父亲笔记等证据，历经纵火、绑架、封井险境，收集赵家伪造责任、私改巷道害命的实据，扳倒反派洗清唐父污名。唐月笙拒绝独占矿场，牵头成立矿业安全监管公司，让矿井长明灯守护矿工公道。

Nearly a million smartphones and cameras are lost in the wilderness each year. For the first time in history, recovered footage from such devices is presented in a chilling anthology series. Wilderness Tapes: Volume One chronicles a journey into an abandoned gold mine that goes wrong, plunging "Prospector Pete" into the depths of supernatural madness.

秋千　　第一回合：公园一角，忙着为游客画肖像的画家闵熙道（申河均）虽经济窘迫，却因有爱人恩雅（李恩承）相伴对生活充满希望。某日，他接到一个神秘电话。对方邀请他来到一座豪宅，见到人称“金融界巨手”的姜卢植（边熙奉）。姜向熙道提出了一个充满诱惑、无法令人拒绝的提议。通过一次“赌博”改变熙道现有的窘境，从此衣食无忧。为了让使爱人和自己的生活从此走向富足，熙道鬼使神差地接受了这项提议。于是，一场豪赌拉开序幕。 第二回合：熙道和金融大鳄的“游戏”开始，随着不断深入，熙道的命运被彻底改变，甚至押上了自己的全部，包括青春、身体……在渐渐失去一切，不断走向地狱的当口，在叔叔泰硕的帮助下，熙道找到了姜卢植的前妻慧琳（李慧英）。熙道希望重新找回本应属于自己的命运，慧琳为他指点了迷津…… 第三回合：为了回到过去的生活，熙道再次开始了危险的“游戏”。他利用姜卢植的身体策划了一场阴谋……究竟这场较量谁能胜出呢？

为偿还债务而夜以继日工作的十六岁女孩，在偶然中遇到了一个在黑社会充当古惑仔的十八岁少年，两人忘我地相爱，然而，等待他们的命运却又如何呢？

本部无对白实验动画短片，又是实验动画先锋导演乔治·史威兹贝尔的一部极具个人特色的作品。在这几分钟的光影里，影片用手绘招贴画的笔触风格，解构又重构着周围世界的一切。在超特写的镜头里，数字被分解成若干的笔画，又在超远景的构图中重组成相同的诸多个体；奔跑着玩手球的少年，鸣奏交响乐的交响乐团，时空就这样毫无关联却神奇无比的转换着，而这一切的流动影像如此流畅而自然，给人以超强的镜头感和空间感。本片的另一大特色就是强烈的音乐性，虽然没有对白，但是跟随背影音乐的高低，我们似乎也进入到了乔治为我们构筑的绚丽的超时空世界。 乔治·史威兹贝尔(Georges Schwizgebel)1944年生于瑞士，以其极其多样的表现形式和深邃的内涵自成一派，是世上极为重要的实验动画导演。

总理候选人兰塞、记者提莎、电影明星卡普尔和赌场主汉曼隆各收到一封信，信的内容不尽相同，但目的都是引诱他们前往希腊的萨摩斯岛。出于对利益和真相的好奇，4个身份截然不同的人同时踏足萨摩斯岛。岛主富豪马赫会见了他们，并道出失散多年的女儿玛雅的悲惨故事，应邀而来的4个人均和玛雅的死有着密切关系，究竟这是一场精心策划的陷阱，还是一场鹿死谁手的“游戏”？