On the set of a luxury car commercial, an overlooked assistant seizes his chance to get noticed by the star.

On the set of a luxury car commercial, an overlooked assistant seizes his chance to get noticed by the star.

这是一出探讨少年犯罪的日剧，风见(草剪刚)是一名教育部的精英，埋首研究少年犯罪,主张孩子们不是恶魔，会犯罪是因为很多因素影响，试著找出背后的原因来帮忙少年 　　有一颗为孩子们著想的心。 　　而丹波(西村雅彦)是搜查一课的警员，在一次的意外下，被下放到少年犯罪课。他主张犯罪就是犯罪，对待少年就像对待大人犯罪一样 　　对少年犯罪的想法截然不同的两人，在被分在一起办案时，又会出现什麼火花呢?

这是一出探讨少年犯罪的日剧，风见(草剪刚)是一名教育部的精英，埋首研究少年犯罪,主张孩子们不是恶魔，会犯罪是因为很多因素影响，试著找出背后的原因来帮忙少年 　　有一颗为孩子们著想的心。 　　而丹波(西村雅彦)是搜查一课的警员，在一次的意外下，被下放到少年犯罪课。他主张犯罪就是犯罪，对待少年就像对待大人犯罪一样 　　对少年犯罪的想法截然不同的两人，在被分在一起办案时，又会出现什麼火花呢?

墨西哥母亲玛格达勒娜在前往美墨边境寻找失踪儿子的路途中，遇到了不久前被美国驱逐出境的男子米格尔。玛格达勒娜寻子，而米格尔则希望能再见他母亲一面…

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.

In 1991, when images of the Gulf War flooded the international media, it was virtually impossible to distinguish between real pictures and those generated on computer. This loss of bearings was to change forever our way of deciphering what we see. The image is no longer used only as testimony, but also as an indispensable link in a process of production and destruction. This is the central premise of Erkennen und Verfolgen, which continues the deconstruction of claims to visual objectivity 　　In War at a Distance, Farocki returns to themes explored in works such as Images of the World and the Inscription of War, bringing them technologically up to date. The automation of factory production is paralleled with the automation of destruction in warfare, and a new world of machine images is revealed – images not intended for human eyes, but for the visual tracking systems of the digital age. The video traces the history of missile guidance systems from WWII through the present day using visual artifacts of machine guidance systems, as well as training films, missile footage from the Gulf War, and flight and battle simulations. A coolly terrifying glimpse of the future.

讲述的是男主人公民秀失业之后又接到女友的分手通报，迫于生活而开始偷车赚钱， 　　电影海报 　　电影海报 　　之后失手杀死了人而感受到杀戮的快感，于是开始了杀人偷车卖车的犯罪之路，变成前一直是客串出演电影，这次首次升格做主演。海报上他饰演的男主人公展现了冰冷了一个疯狂的杀人惯犯。全宰洪导演同时担任了导演、制作、剧本和摄影，金范俊之的眼神，似乎捏住了什么人的脖子要将其置之死地。海报上还写着“我不是说过了么，我是天生的……”展现了主人公对于自己变成杀人魔的坦然心理。

讲述的是男主人公民秀失业之后又接到女友的分手通报，迫于生活而开始偷车赚钱， 　　电影海报 　　电影海报 　　之后失手杀死了人而感受到杀戮的快感，于是开始了杀人偷车卖车的犯罪之路，变成前一直是客串出演电影，这次首次升格做主演。海报上他饰演的男主人公展现了冰冷了一个疯狂的杀人惯犯。全宰洪导演同时担任了导演、制作、剧本和摄影，金范俊之的眼神，似乎捏住了什么人的脖子要将其置之死地。海报上还写着“我不是说过了么，我是天生的……”展现了主人公对于自己变成杀人魔的坦然心理。

杰西·艾森伯格将自编自导自演新剧《人才市场》(The Market，暂译)。J·J·艾布拉姆斯的坏机器人公司制作。这是部每集30分钟的喜剧。父亲刚搬去匹兹堡和成年儿子同住，瞬息万变的经济环境却令两人同时丢了工作。两人只能一头扎进人才市场寻求新出路。卷老师同时还是这部作品的执行制片人。