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.

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。

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。