Considering the underground as both a metaphor and a manifest reality, Zheng’s film Sinking Latitude focuses on a myth about underground flooding. The city where the story takes place has a history of salt mining that spans more than 2000 years, and generations of residents who have lived there have passed down a prophetic myth for centuries–that due to excessive mining, the city's underground has long been hollowed out and depleted, filling with salty brine, and that one day, when an earthquake occurs, an underground flood of salty liquid, the mine itself, will surge out and engulf the city. 　　Zheng’s film takes the form of a fictional dialogue between three characters—puppy, master, and dinosaur—as they discuss this myth. The master has lost their memory of the flood myth, and the puppy takes on the task of recovering this memory with the help of the dinosaur, who represents the impact of time on reality. Through their conversations and questions, the group begins to uncover how the fear of an unknown disaster has affected their perception of the world. The film traverses different locations, making the underground visible, and providing views of cityscapes, a site of dinosaur fossils, salt wells, an abandoned salt factory and its residencies, and sequences of miners using archaic techniques within a salt mining museum, at once performing and working. The landscape is viewed as a perforated body that is littered with debris and risk, with the wells at once towering and deeply rooted in the ground. This documentary-like footage is integrated with scenes shot in the studio or borrowed from the internet, as well as black and white still images of dinosaur bones, and animated footage of the puppy and flooded underground landscapes implying the oncoming future. Indeed, Sinking Latitude continuously crosses temporalities, merging deep time with lived time, recalling past events while also reflecting on relationships in the present, and nervously discussing the uncertain catastrophe that lies ahead. Imagining a hollow and flooded world of liquid salt, Zheng’s film fractures notions of time, agency, and visibility, charting both a feeling of groundlessness, and a fluid bond between geology, biology, and biography. The narrative certainly prompts a reflection on the increasing climate catastrophe and apocalyptic thinking, yet it is more a rumination on time and places where myths, identities, and communities come together, where memories are formed, congealed, and concretized, and realistic fears are displaced as stories. Here, myth is shown to be intimately tied to memory, not only a personal or collective, but also primeval and hydrological.

一座普通高中内，生活这一群平凡的女孩。貌不惊人的西原梓（石井杏奈 饰）小心翼翼和隶属拉拉队的同班同学搞好关系，只是因为不想重蹈当年被孤立的覆辙。这一日，她被体育老师叫到办公室，由于之前的缺勤导致学分不够，所以必须去参加某个舞蹈比赛补修学分。和她一起的还有性格阴郁的片濑爱海（小芝风花 饰）、家境平平的小泽叶月（小野花梨 饰）、只知道念书的岸本环（秋月三佳 饰）以及相貌凶恶的不良少女贵岛美香（上原实矩 饰）。偏偏担任教练的Kenny（冢本高史 饰）看起来又是一个不太靠谱的男人，因此这支街舞团成立之初可谓历经磨难。好不容易修够学分，不过女孩们似乎找到人生的方向，她们决定再努力拼搏一次…… 　　本片根据宇山佳佑的同名原作改编。

本部无对白动画短片，描绘了一名独舞男子的诡异舞步。灰暗的空间里，身着鲜红色西服的男人神情怪异，比划着禁言的手势，然后跟随灵异的音乐，独舞开始。夸张抽象的舞蹈动作，魔幻般的舞步更是让人捉摸不定。脱掉的西服外套，幻化成另外一个一模一样的自己。两人回眸对视，相见恨晚。随后发生的离奇事件更加让人匪夷所思，礼帽、鞋子和裤子，都“长成”了另外三个自己。五人共跳诡异的舞曲，令人难以置信的分裂又重合着。最后，他们又聚合回最初的样子，犹如一个即将出生的婴儿，蜷缩着，这是最后一式诡异舞步。

内向害羞的高中生小谷花木被同班女孩湾田光莉深深吸引，热情奔放的她跳起舞来仿佛能抛开世上的所有烦恼。为了赢得女孩的心，他做出了改变一生的决定......

戈尔萨，一个来自德黑兰郊区的 16 岁女孩，有一天和朋友们抢劫了街角的商店。但在分赃时候，他们才意识到他们忘记了监控摄像机的记录。其中一人必须返回犯罪现场并拿走它。投票落在戈尔萨身上，戈尔萨被同伴胁迫回到犯罪现场取出监控录像。她选择将录像藏匿。在这之后她饱受良知的煎熬以及朋友和家人的逼迫，事件的后续更使戈尔萨彻底改变了人生观。

死神舞步以深入的侦察手段，严密的逻辑推理，准确地揭示了一起扑朔迷离，看似谋杀实为含有自杀因素的刑事案件。展示了剧中人物楚风、徐珊珊、王沂霞、邱惠如以及邱母、徐达医生等两代人的盘根错节的多角关系，反映了时代的变迁更移所造成的两代人的不幸遭遇和社会根源。同时揭露了由于个人心理变态而产生的一系列近乎荒唐疯狂的行为，以及因这些行为所造成的悲剧，并在一定意义上给予了积极的鞭鞑。全剧交织着强烈的爱与恨的搏杀，鲜明的善与恶的决斗，生动曲折，悬念迭出，扣人心弦。

戈尔萨，一个来自德黑兰郊区的 16 岁女孩，有一天和朋友们抢劫了街角的商店。但在分赃时候，他们才意识到他们忘记了监控摄像机的记录。其中一人必须返回…

南城徐家破产后，徐扶熙从千金小姐沦为无家可归者，面对家庭变故和感情背叛，她决心在娱乐圈闯出一片天地。然而，她在娱乐圈遭遇潜规则和封杀，事业陷入低谷。关键时刻，她接近寰宇集团老总沈听澜，希望借助他的力量东山再起。两人在试探与防备中逐渐敞开心扉，最终携手面对风雨，徐扶熙也凭借自身努力重新崛起，收获爱情与事业

改编自美国J.凯恩的小说《邮差总按二次铃》，完成于1941年，在剧本必须由法西斯政府审查的拍摄条件下，维斯康提把这个通奸谋杀亲夫的畸恋故事，拍成充满绝望宿命气息的作品。 　　片中一方面是出身贫家的女主角，身不由己嫁给肥胖粗俗的酒店老板，她完全没有逃脱被豢养（并不时被羞辱）生活的勇气，而男主角则是个流浪的无业游民，他经不起女主角的诱惑，犯下致命的罪行，艰困的社会生活条件，明确烘托出男女主角各自别无选择、一拍即合的宿命孽缘。初执导演筒的维斯康提，在片中已经展现他后期作品中最大的特色：对人物不克自拔情欲心理的细腻描画，在饮食间两性对对方身体的凝视中，维斯康提把艰困的物质生活和不受拘束的内心肉欲作了明确的并列，弥补了通奸过程的简略。

在国家资料馆工作的男主角马提斯亲眼目睹一个女子准备跳河自尽而没有伸出援手。警员对自杀者却充满冷漠。马提斯为了搜寻更多关于自杀女子的一切，跑去找她的爱人，直到出现了意想不到的波澜。