竹林七闲7个人，性格鲜明，喜好广泛。每日除了喝酒吟诗，还有很多有趣的故事。

竹林七闲7个人，性格鲜明，喜好广泛。每日除了喝酒吟诗，还有很多有趣的故事。

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

《柏林之狗》的故事中出现了两名截然不同的柏林警探，他们不情愿的组队协作，被迫与柏林黑社会争地盘，其间更要面对自己的人性弱点和犯罪行为，最后，他们必须做出终极决断：自己到底是执法者还是违法者。

以丛林生存法则为企划包装，不论是温驯小绵羊，亦或是张扬狮子王，都别妄想这个世界会善待你，困兽之斗终将激发选手无限可能，跳脱传统选秀赛制，加上强烈的视觉概念，塑造节目独特性。节目由两位指标性导师林宥嘉、萧敬腾领军，每集再邀请一位飞行导师进行评选，同样选秀出身的背景，更期望寻找下一个好声音，重拾大众对音乐选秀节目之热情与期待。

卢克（瑞恩·高斯林饰）是一名技艺高超的从事惊险动作表演的摩托车手，他每天要做的就是，穿梭在一个又一个城市之间，在一个又一个狂欢节或嘉年华上用自…

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.

This film is largely filmed with an exploration of the film medium in certain aspects. 　　It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the "real" time which exists when the film was being shot, with the "real" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. 　　The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.