这是一个喧嚣吵闹的大都会。车水马龙，人头攒动，噪音不绝于耳，那里也找不到安静的角落。在一座立交桥的下面，有一座冒着滚滚浓烟的罐头工厂。工人们排列在流水线，日复一日、年复一年做着枯燥无味的工作。18点半得下班铃声响起，流水线停了下来，下巴留着胡子的男人阿蒙德收拾妥当，走出工厂，乘坐电车回到自己的公寓。他浇了浇花，随后打开壁橱，打出一罐罐头准备当晚餐。谁知里面竟然蹦出来一个肥胖的精灵。精灵未说话先开唱。一曲快乐的歌过后，精灵自我介绍，并承诺可以帮助阿蒙德实现两个愿望。 阿蒙德虽然参考了精灵的建议，不过还是希望能得到一个小花园，它的愿望实现了……

多多是一个善良、聪明、勇敢的小男孩，他有一位擅长修理玩具的爷爷。爷爷和多多一样热爱玩具，经常帮助多多和其他小朋友修理破损的玩具。生日之际，爷爷送给多多一罐彩泥，多多将彩泥捏成一个可爱的罐头，而当星星闪烁的时候，罐头竟然变成了一个有生命的小精灵。

《罐头里的一天》创作于2018年作者大三时期，刻意笨拙的描绘了一位外卖员一天的生活。影片通过配送途中外卖员所遇到的人或事展现出边缘人在都市中的生活困境。最终身处社会底层的平凡人物迸发出了人性的善完整了这一天...为每一个平凡人献上赞美。

位于偏远郊外的罐头加工厂，慵懒的工人正坐在流水线旁，伴随着有节奏却十分枯燥的机器噪音打瞌睡。突然，似乎什么惊扰到他，他起身察看，发现流水线上的一只罐头被人偷走。接下来，影片围绕主角“盗窃者”的第一视角展开，他走入镇上，所有的人见到他都大惊失色，忙乱跑开，除了等候公共汽车的小女孩对他抱有好感，其他人的脸上或惊恐、或嫌恶、或鄙夷、或尴尬，莫衷一是。公车摇摇晃晃开到了闹市区，他走下车，前往某个盛大的晚宴，在这里，他将与钟爱的对象跳上一支用生命写就的舞蹈…… 北京电影学院动画学院08级学生联合创作的毕业作品。

This experimental film collage makes use of documentary, fiction and animated film techniques. The fading traces of childhood are mixed with the folk culture of the Haná region, all of it shot on 16mm film. The filmmaker thus preserves her chosen motifs, which are slowly but irrevocably disappearing from the present day.

维也纳应用艺术大学与红牛合作项目的一个部分，Carlos Lascano制作。做工很细腻的片子。

五集系列微纪录片《镜头里的中国》以【英国】柯文思、【美国】费嘉炯、【日本】竹内亮、【印度】魏克然、【瑞士&法国】奥利弗这五位国际纪录片人为主体，讲述他们在中国拍纪录片故事，展现他们的中国情缘。 这是一部自传体纪录片作品，从第一人称视角出发，聚焦海外纪录片人在中国的生活和创作经历，以他们的作品为重要叙事线索和呈现内容。片中，来自创作者的作品时空、工作生活时空，和与中国的发展时空相互交织，产生了巧妙的互文和互动关系。这些国际人士关于纪录片的深刻理解、生命经历的独特体验、创作过程的精彩分享、乃至对中国发展变革的体察和认知，共同营造了本片的叙事张力和看点。

The film follows an encounter between the ghost of a possessed girl, trapped for centuries within a stone, and the director’s 102-year-old grandmother, confined to her living room and waiting for death. The ghost, tied to a Polish folktale about the mysterious Kontrewers stone, becomes drawn to the pious older woman, mistaking her for its long-lost mother. What begins as a haunting turns into a surreal and tender dialogue, where both parties transform the traces of repression and inheritance beyond bloodlines. Conjuring this encounter between themself, their grandmother and the haunted relic, the filmmaker interweaves archival, staged and documentary materials. The act of filming becomes a relational practice of witnessing: an attempt to let their grandmother’s presence, at the verge of death, leave a trace, entangled with all those whose care, trauma and survival she carries. Kontrewers thus reimagines possession as a non-linear mode of communication, as a negotiation of boundaries between self and other. What was once buried resurfaces in the vibrations between generations through the persistence of matter, bodies and gestures: the media through which memory insists on being felt.

Robert Box asks his colleague Lorraine out for a date. They go to a restaurant where Dave Perry tries to break it as a stand-up comedian.