“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

蓝飞(杨千嬅饰)是一位美丽时尚、开朗率真的「多功能」主妇，有一个爱她的建筑师丈夫尚剑雄(黄浩然饰)，一个活泼聪明的儿子尚启佳，生活美满。蓝飞还有两…

蓝飞（杨千嬅 饰）和身为建筑师的丈夫尚剑雄（黄浩然 饰）结婚多年，两人共同养育着活泼可爱的儿子尚启佳，尚剑雄在外面努力工作养家，蓝飞则安心在家相夫教子，男主外女主内的生活过得井井有条。然而某一日，一直都非常信赖丈夫的蓝飞震惊的发现尚剑雄背叛了自己，移情别恋，东窗事发后，尚剑雄选择离开了蓝飞，抛弃了自己的妻儿。 　　霎时间，蓝飞失去了一切，成为了需要独自抚养孩子的单亲妈妈，不仅得外出讨生活，还得为了避免流落街头，每月偿还巨额房贷。为了供房，蓝飞决定将房子出租出去，就此结识了名叫荣浩田（周柏豪 饰）的帅气房客，两人之间碰撞出了激情的火花。

来自伊朗的米娜拒绝了父母介绍的对象，却碰上了旅居德国的齐安；米娜对于欧洲远方的生活有所憧憬，齐安则想透过婚姻完整自己的人生。没有浪漫的一见钟情，两个陌生人还没有酝酿足够感情，就准备走入爱情坟墓，生活从来都不简单，共同生活远比想象来得困难。还好，他们有只猫。

你的最隐秘的想法，甚至自己无意识的想法，最隐私的秘密，都能被人读出的时候你会怎么感觉？ 　　sonychen 严重推荐

你的最隐秘的想法，甚至自己无意识的想法，最隐私的秘密，都能被人读出的时候你会怎么感觉？ 　　sonychen 严重推荐

特异功能人士张宝胜的妹妹张宝珊（吴君如 饰）本来凭借自身异能供职于政府，后因受兄长所托，护送能够使人拥有特异功能的宝物“麒麟球”赴港。沿路有特异功能界败类华叔（元华 饰）率领天眼通、神医、狐仙等同伙堵截宝珊，意欲抢夺麒麟球，宝珊不敌众人将麒麟球扔给同行的马戏团猩猩芝达，芝达因麒麟球与电击的综合作用竟然化身为人（钟镇涛 饰）。摆脱了华叔等人的张宝珊与芝达一起抵港，宝珊保护麒麟球之余调教芝达种种做人的技能。另一方面，原来预定了猩猩表演的公司职员yoki（利智 饰）因芝达失踪而焦急万分，却又不经意与人形化的芝达结识并结为好友，情愫在他们之间滋长，然而麒麟球维持芝达人形的效力越来越有限了……

讲述导演肯·洛奇的纪录片——英国独立电影与电视导演编剧。他的电影作品屡次获得国际电影节多个奖项，包括戛纳电影节金棕榈奖及威尼斯电影节的终身成就奖，毕业于牛津大学圣彼得学院。