Director's Note “Our whole life can be nothing but one continued dream. Perhaps at the instant of death, we shall awake, and then see all that we believed real was nothing but a dream.” Fénelon, Dialogues of the Dead (1712) MUSA is the love story of two men, Simos and Musa, who probably met one night in an elusive, secretly erotic place. We follow them closely, during their first intimate moments. As their relationship evolves and they are living together, Musa strives to fit within unfamiliar circumstances, while Simos tries to control his possessiveness and enduring fear of losing his lover. Whenever his rationalization proves insufficient as a instrument for handling his crises, Simos opens the door that separates fantasy from reality and channels his fears into his dreams, which sooner or later become haunting nightmares. All love stories have elements of mystery and a dark side. Love goes with loss. Loss of the significant other, loss of desire, loss of self, up to the conclusion of all human drama: death. I wanted to tell this story the way we tend to remember our own love stories: not in a linear way, but in a spiral form, where fragments of reality, memories and fantasies are put together, compressed in a short period of time. This aspect places MUSA in the vein of Hitchcock’s Vertigo, Verhoeven’s Turkish Delight, Lynch’s Mullholand Drive and Cronenberg’s Dead Ringers. When narrating a real event, we keep adding complementary, invented incidents and we keep recounting that same story over and over again, becoming eventually unable to discern the real from the imaginary parts. We end up believing the whole story as unquestionably true, because we need to interpret it in a way that makes sense and enables us to overcome the terrible trauma of loss. This is the case with all our personal stories; this is also the case with the history of humanity.

这部多通道电影和视频装置作品探究了20世纪初“巴格达铁路”这一具有历史意义的基础设施项目。该项目由德意志帝国出资并实施，它成为了帝国扩张、新兴金融资本主义和殖民债务政策的战略工具，使德国卷入了奥斯曼帝国的种族灭绝事件以及……

影片讲述民国年间，卫生署的底层办事员苏正怀带着大女儿苏婷和儿子苏月笙去省城探亲，在火车上遇到了失联已久的二女儿苏玲。火车行驶途中遭遇鼠群袭击，苏月笙不幸被老鼠咬伤，陷入昏迷，为了拯救小儿子和众多被咬伤的乘客，苏正怀和苏婷决定冒险前往小白河医院取药，就此开启了一场极限大逃亡。

李来福意外穿越到1960年代，觉醒可种养储物的太极随身空间。他一改原主顽劣本性，善待后妈与弟弟，接济乡下祖辈；凭借超前眼光与空间物资，捕鱼换票、做生意挣钱，偶遇古董秘宝实现财富积累。期间屡次化解地痞赵虎的刁难陷害，机缘救下孩童获评见义勇为，顺利入职派出所成为民警。在家中无粮可食时，李来福拿出囤积的海量粮草保全全家，立志用手中资源帮扶乡里，在艰苦岁月里带着亲人与乡亲安稳度日、奔赴好日子。

功夫电影《百家拳之董海川》由赵箭执导（代表作：《重耳传》），阳明传媒有限公司制作，讲述董海川因机缘投入云盘老祖门下，修得一身好功夫，为了保护百姓与鸦片商人艾勒孟反目成仇。英国人雅各布设计陷阱，意图害死董海川。最终董海川冲破重重阻力，打败了艾勒孟，烧毁了鸦片仓库，并杀死了罪魁祸首雅各布的故事。

盛舒然在异国酒店醒来，又梦到与养弟迟烆的暧昧夜。国内来电称迟烆车祸，她焦急回国，不知这是对方的苦肉计。回国后，迟烆频繁以各种理由亲近，举止超姐弟尺度，却仍装出孺慕模样。盛舒然既羞耻于对弟弟的感情变质，又难以自控，加之未婚夫傅凛似非真心待她，内心纠结。最终她发现，看似纯良的迟烆，早已对自己志在必得。

道宗大师姐温霜救世死后，穿成现代豪门弃妇。男主傅司珩（前世师父，曾保她神魂）能读其心，后信其玄学。她救傅家、查案遇前世仇师妹，最终取胜，直播算命，爱情事业双收。

风水相师许泽为化解死劫下山寻找龙气女子，意外成为总裁苏明玥的保安，却不知对方正是自己的网恋对象。许泽多次凭借相术与武力化解危机、打击反派，两人在现实中感情渐深却屡次错过相认。最终许泽借助苏明玥的龙气在雷劫中破除死劫，两人也终于发现彼此就是网恋已久的对方，终成眷属。

萧然意外发现自己能看见物品的回报率，并利用这种能力买彩票赚得第一桶金，之后又通过精准投资，迅速积累财富，不断挑战更高回报的投资项目，开启了更为波澜壮阔的财富人生，改编自番茄小说我能看穿万物价值，作者加油母老虎。

十九岁的夏惜是夏国最年轻的战神，战功赫赫。荣耀归来的她，为救被迫害的弟弟，奔赴云城惩治恶人。遵母亲让她过平静生活、求学的嘱托，她前往帝城学院上学，期间结识封璟，应对多方挑衅，都被夏惜巧妙解决。但是随着身世揭露，夏惜明白了平静的生活需要力量维持，最终为守护家国，携封璟共赴域外战场。改编自《新生军训，教官竟是她下属》，作者夏小惜。