改编自起点作家佛前献花的同名小说《神秘复苏》。 　　“我叫杨间，当你看到这句话的时候我已经死了。”普通学生杨间被卷入一场诡异入侵事件，获得来自未来的羊皮纸和神秘诡眼，成为驭诡者。杨间带着同学们逃离了校园，但危机才刚刚开始。五浊恶世，人间如狱，窥视了黑暗的代价是永远迷失在无尽诡异中。

改编自起点作家佛前献花的同名小说《神秘复苏》。 　　“我叫杨间，当你看到这句话的时候我已经死了。”普通学生杨间被卷入一场诡异入侵事件，获得来自未来的羊皮纸和神秘诡眼，成为驭诡者。杨间带着同学们逃离了校园，但危机才刚刚开始。五浊恶世，人间如狱，窥视了黑暗的代价是永远迷失在无尽诡异中。

改编自起点作家佛前献花的同名小说《神秘复苏》。 　　“我叫杨间，当你看到这句话的时候我已经死了。”普通学生杨间被卷入一场诡异入侵事件，获得来自未来的羊皮纸和神秘诡眼，成为驭诡者。杨间带着同学们逃离了校园，但危机才刚刚开始。五浊恶世，人间如狱，窥视了黑暗的代价是永远迷失在无尽诡异中。

What brings best friends together? For Daphne, Velma, Fred, Shaggy and Shaggy’s spunky pup Scooby-Doo, it’s a mystery! The feature-length live-action Scooby-Doo! The Mystery Begins original movie takes you back to when four teenage sleuths (plus one dog detective) first met. Unjustly accused of staging a spooky practical joke complete with ghosts, the kids are suspended from Coolsville High. To clear their names, they team to solve the supernatural mystery….and head straight into nonstop laughs and adventures. Special fun, special friends and extra-special effects make this “how-it-all-began” story - from boy-meets-dog to the first trip in the Mystery Machine and more - a doggone great time!

某电影厂为筹拍儿童故事片《小龙高飞》，导演诸葛华等人四处奔波，寻找饰演小龙的演员。一天，他们在挑选演员休息时，将一架照相机遗忘在公园的长椅子上，为此十分焦急。忽然，一个叫飞飞的少年追来，把照相机送还。诸葛导演他们刚要致谢，谁知飞飞用飞镖搭在树上，一个腾跃离去了。这漂亮的动作，引起了诸葛导演的浓厚兴趣。在追寻中，他们了解到飞飞是一个会武功、会游泳，非常聪明的孩子。诸葛导演决定由飞飞饰演影片中的小飞。飞飞随剧组来到外景地。第二天早晨，飞飞和张丽、高虹、柯克等演员一起去湖边炼功，被扮演阎组长的演员挡住了去路，双方按剧情的要求大声争执起来。这时，专程给剧组送马的农村少年来春看见众人欺负一个老人，急忙上前打抱不平，逗得演员们捧腹大笑。飞飞饰演的小龙有骑马与汉奸厮杀的镜头，可他偏偏不会骑马。来春的马术不错，导演要飞飞拜他为师。飞飞嘴上答应，心里却另有想法。飞飞为了独自练习骑马，巧妙地支开老演员程江，他策马飞奔，差点撞到一棵树上。夜晚，摄制组拍摄小龙的爆炸点奔跑的镜头时，飞飞心里却想着白天骑马的事，险些踩上爆炸点。老雷为救飞飞被炸伤，住进医院。在拍摄小龙从七米高墙往下跳的镜头时，飞飞不怕危险，连续跳了两次，圆满完成了拍摄任务。可是，当拍摄小虎牺牲的戏时，飞飞面对镜头哭不出来。情急之下，他偷偷用钳子夹自己的大腿，虽然眼泪掉下来，但是缺乏感情，他的表演失败了。飞飞回到招待所，罚自己做马步站桩，还要罚为他配戏的柯克翻跟头，柯克不服，两人为此争吵起来。副导演过来批评了飞飞，他产生了回家的念头。张丽找到飞飞，以自己的经历教育他。柯克也主动承认了自己的错误。在大家的帮助下，飞飞、来春、柯克成了形影不离的好朋友，影片终于顺利拍摄完成。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 　　The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. 　　Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. 　　Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. 　　Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 　　此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。