黑色量子未来主义（Black Quantum Futurism）是一个跨学科实践团体，由卡迈·阿耶瓦（Camae Ayewa）和拉希达·菲利普（Rasheedah Phillips）斯创立于美国费城。该团体曾发起并创办了一系列社区项目、表演、实验音乐项目、沉浸式装置、教育工作坊、书籍、短片和杂志。 　　该团体的创作将量子物理学与非裔离散群体的准则及时间、空间、仪式、文本、声音的本体论相结合，建立了一个创造反历史和替代性未来的框架。在此过程中，黑色量子未来主义积极对抗排他性的历史观与未来观，提供批判性的替代方案，强调黑人的经验和可能性。 　　《书写非史》是一件由假想性短片构成的影像装置，展示了一个由黑人科学家、治疗师和作家组成的古老秘密组织“时空破坏者”的档案素材。作品的背景设定跨越了费城哈特菲尔德之家——该组织的一处集会地——的过去、现在和未来，围绕“量子时间胶囊”的埋葬及出土仪式展开。胶囊中存放着工具、地图、时钟，以及代码，提供了骇入殖民化时间线的技术。

近年、中国で日本軍が遺棄した毒ガス兵器による被害が相次ぎ深刻な問題になっている。日中戦争から70年。なぜ遺棄毒ガス兵器は今日まで放置されてきたのか、なぜ日本軍の毒ガス作戦は忘却されてきたのか。 　　その背景に、東京裁判でアメリカが毒ガス戦を免責した事実がある。当初、日本軍の毒ガス使用は、国際法違反として裁かれるはずだった。戦争中から日本軍の毒ガス使用を非難してきた中国国民政府とアメリカは、その証拠をつかんでいた。しかし、アメリカ軍内部で化学戦の研究・作戦立案を担っていた化学戦統轄部の強硬な反対を受けた。化学戦統轄部は、戦争中、日本本土への毒ガス攻撃を研究していた。1945年11月に予定されていた九州上陸作戦では、福岡や長崎など、毒ガス戦の標的が選定されていた。化学戦統轄部にとって日本軍の毒ガス作戦を裁くことは、みずからの手を縛ることに他ならなかったのである。 　　そして東京裁判での毒ガス作戦が免責されたことは戦後世界に大きな影響をもたらした。 　　番組では、アメリカに残る調査報告や尋問調書、旧日本軍兵士の証言から毒ガス作戦の全貌を明らかにする。またアメリカ軍の毒ガスの実験映像など新資料を駆使して知られざる対日毒ガス作戦と免責の構造を描いてゆく。

阿富汗2014。当部队即将撤离时，Antarès Bonassieu上尉和他的部队被指派在巴基斯坦边境的Wakhan偏远山谷执行控制和监视任务。尽管他们下定决心，但安塔利斯和他的手下逐渐失去了对本应平静的地区的控制。九月的一个晚上，山谷里的士兵神秘地消失了。

一部纪录片，探讨了重金属音乐、恐怖电影的历史，以及这两种类型是如何随着时间的推移而融合在一起的。

In 1964 author Samuel Beckett set out on one of the strangest ventures in cinematic history: his embattled collaboration with silent era genius Buster Keaton on the production of a short, titleless avant-garde film. Beckett was nearing the peak of his fame, which would culminate in his receiving a Nobel Prize five years later. Keaton, in his waning years, never lived to see Beckett’s canonization. The film they made along with director Alan Schneider, renegade publisher Barney Rosset, and Academy Award-winning cinematographer Boris Kaufman, has been the subject of praise, condemnation, and controversy for decades. Yet the eclectic participants are just one part of a story that stretches to the very birth of cinema, and spreads out to our understanding of human consciousness itself. 　　NOTFILM is a feature-length experimental essay on FILM’s production and its philosophical implications, utilizing additional outtakes, never before heard audio recordings of the production meetings, and other rare archival elements.

4.3 사건으로 상처 입은 제주도와 제주사람들... 　　그리고 지금 아프게 부서져 가는 강정마을의 이야기 　　제주시 애월읍 납읍에 살고 계신 강상희 할머니, 할머니의 남편 김봉수는 4.3으로 희생되었다. 해군기지 문제로 떠들썩한 서귀포시 강정마을. ‘4.3의 원혼이 통곡한다’ 와 같은 수많은 현수막이 제주 4.3과 해군기지 문제가 다르지 않음을 말한다. 카메라는 유령처럼 제주도 납읍리, 가시리, 강정마을, 일본 오사카 등을 돌며 그 흔적과 균열들을 드러내기 시작하고 다시 강상희 할머니가 혼자 살고 있는 집 앞마당으로 돌아온다. 언제부터인지 알 수 없지만 잠자리 밑에 녹슨 톱을 두고 살아온 할머니의 삶... 가늠할 수 없는 깊은 슬픔을 짊어진 제주도와 제주사람들의 삶에서 녹슨 톱은 언제쯤 치워질 수 있을까. 　　Focusing on Mrs. Kang sang-hee's life, she lost her husband in Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Is land, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.

A man, Vince, wakes up in the middle of a film shoot. He doesn't know what's going on or why he's there, but crew members tell him he's one of the actors in the film so he decides to just play along. During the shooting of one scene, one of the other actors, 122, accidentally kills most of the crew. Vince, 122 and the remaining crew decide to finish the film by themselves, even though there's no script, no sound equipment (they decide to make it a silent film) and no camera (they then decide to also make it a "blind" film). 　　Like his music, this first feature film of Quentin Dupieux (aka Mr. Oizo) is at the same time totally retarded and utterly brilliant. A calm yet demented piece of metafiction, examining the boundaries between film and reality in a dry, absurdly humorous way.