From Mars to Earth and underneath. Above and Below is a rough and rhythmic roller coaster ride seating five survivors in their daily hustle through an apocalyptic world. A journey of challenges and beauty in uncomfortable places: Rick & Cindy, Godfather Lalo in the flood channels deep down under the shiny strip of Sin City. Dave in the dry and lonesome Californian desert and April in simulation for a Mars mission in the Utah desert. Through the hustle, the pain and the laughs, we are whisked away to an unfamiliar world, yet quickly discover the souls we encounter are perhaps not that different from our own.

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

国际知名设计师菲利普·史塔克正在寻找英国最有前途的新人设计师。 通过全国选拔，12名怀抱热情与梦想的设计师来到到巴黎史塔克设计学院学习。他们的目标是把自己的设计思路变成真实的产品，但最后的赢家只有一个。优秀的人将获得和世界顶尖设计师一起工作的机会。 史塔克设计了一系列任务，挑战他们的创意、才华和抱负，并激励他们创造出下一种未来社会的必需品。

旨在通过文物探寻西汉湖南人的生活方式，通过非遗找到该生活方式在历史中的传承，最后通过造物实现对传统文化和千年前的生活方式的焕活，让当代人能够零距离地了解、体验两千年前的湖南人的生活方式和精神魅力。

故事发生在2047年的巴黎，人类已经将生活的重心从现实世界转移到了虚拟网络中，那些过于沉溺于网络而抛弃了现实生活的人们被称为“连接人”，这些人早已经丧失了人类的外形。纳什（麦克·道帕德 Mike Dopud 饰）是游走在虚拟和现实之间的“混种”，他的女友海伦娜（奥黛丽·贾科米尼 Audrey Giacomini 饰）在一场事故中丧生，而直觉告诉纳什，那场事故并没有表面看起来的那么简单。 　　为了调查女友死亡的真相，纳什开始从事私家侦探的工作。近日里，一种可怕的病毒在网络中流窜，导致了数百名玩家的死亡，应该为此负责的赛特尼斯公司一边试图掩盖真相，一边雇佣了纳什揪出幕后主谋。

故事发生在2047年的巴黎，人类已经将生活的重心从现实世界转移到了虚拟网络中，那些过于沉溺于网络而抛弃了现实生活的人们被称为“连接人”，这些人早已经丧失了人类的外形。纳什（麦克·道帕德 Mike Dopud 饰）是游走在虚拟和现实之间的“混种”，他的女友海伦娜（奥黛丽·贾科米尼 Audrey Giacomini 饰）在一场事故中丧生，而直觉告诉纳什，那场事故并没有表面看起来的那么简单。 　　为了调查女友死亡的真相，纳什开始从事私家侦探的工作。近日里，一种可怕的病毒在网络中流窜，导致了数百名玩家的死亡，应该为此负责的赛特尼斯公司一边试图掩盖真相，一边雇佣了纳什揪出幕后主谋。

NBC新剧《虚拟幻梦 Reverie》由《传世 Extant》主创Mickey Fisher负责，该剧讲述一个专攻「人类行为」的前警探Mara（《疑犯追踪 Person of Interest》主…

vs (or “virtual spiral”) deals with the dynamics between time and body in film. On digital video and expired 16mm film the processual nature of time and (film) body is visually transformed by spiraling camera movements. Contrary movements, distance, and proximity or depth and surface enter into a dialogue with each other. The spiral runs like a thread through the film. To create the spiraling effect, Lydia Nsiah invented a camera tracking machine and shot in studio, operating the movements of the camera live while recording. On screen we see found footage of data centers—recordings of the physical bodies of our omnipresent data cloud. Hui Ye composed the film’s immersive sound space interacting with the hypnotic and spiraling data body images.