"In the delightful Snakes and Ladders, ‘a didactic fiction about cartography’ made for French television to promote a map exhibition at the Centre Pompidou in Paris – a Borgesian metaphysical fantasy whose hero progressively discovers that France is a life-size board game (devoted to Snakes and Ladders or ‘The Goose’s Game’) – one has to deal with tatty special effects of Edward D. Wood Jr calibre, along with the brilliant conceits and two separate off-screen narrators, male and female. 　　At the outset, the troubled hero (Pascal Bonitzer) – who is found to be vomiting out dice on one occasion, and shaken as dice by an enormous hand on another – discovers that ‘he is the victim of the worst kind of nightmare, the didactic nightmare.’ Some form of didacticism seems evident in every Ruiz project but, as with Borges, it is a didacticism that often parodies itself and becomes camp, yielding precisely the kind of nightmare that ensues when, through a delirium of literalism, thought becomes flesh and the universe becomes a brain dreaming of thoughts yet unborn." - Jonathan Rosenbaum, Chicago Reader

一位满怀壮志却未获重用的教师，一心渴望成为一所名校的校长，然而她得攀爬由谎言和腐败堆砌而成的滑腻阶梯，才有可能登上权力的巅峰。

雄心勃勃却不受器重的教师想成为一所名校的校长，但他必须爬上谎言和腐败铸就的滑腻阶梯才能到达顶峰。

"In the delightful Snakes and Ladders, ‘a didactic fiction about cartography’ made for French television to promote a map exhibition at the Centre Pompidou in Paris – a Borgesian metaphysical fantasy whose hero progressively discovers that France is a life-size board game (devoted to Snakes and Ladders or ‘The Goose’s Game’) – one has to deal with tatty special effects of Edward D. Wood Jr calibre, along with the brilliant conceits and two separate off-screen narrators, male and female. 　　At the outset, the troubled hero (Pascal Bonitzer) – who is found to be vomiting out dice on one occasion, and shaken as dice by an enormous hand on another – discovers that ‘he is the victim of the worst kind of nightmare, the didactic nightmare.’ Some form of didacticism seems evident in every Ruiz project but, as with Borges, it is a didacticism that often parodies itself and becomes camp, yielding precisely the kind of nightmare that ensues when, through a delirium of literalism, thought becomes flesh and the universe becomes a brain dreaming of thoughts yet unborn." - Jonathan Rosenbaum, Chicago Reader

北京电影学院2007届毕业联合作业。编剧：焦佼，导演：焦佼，摄影：冯轩，美术：周煜，录音：陈丹丹 制片：赵震、田默。

北京电影学院2007届毕业联合作业。编剧：焦佼，导演：焦佼，摄影：冯轩，美术：周煜，录音：陈丹丹 制片：赵震、田默。

以习近平新时代中国特色社会主义思想为指导，深入学习贯彻习近平文化思想、习近平总书记关于党的自我革命的重要思想，立足新征程全面从严治党、党风廉政建设和反腐败斗争的伟大实践，适应舆论生态、媒体格局和传播方式的深刻变化，把不敢腐的强大震慑效能、不能腐的刚性制度约束、不想腐的思想教育优势融于一体，丰富廉洁文化优质产品供给，教育引导党员、干部永葆共产党人清正廉洁的政治本色，以优良党风政风带动社风民风向上向好，不断实现干部清正、政府清廉、政治清明、社会清朗。

Thang Máy là câu chuyện kỳ bí xảy ra với những cô gái trẻ khi đi Thang Máy một mình. Mọi chuyện bắt đầu khi Jina đột nhiên mất tích sau khi livestream trong thang máy. Sự cố này gây ra nỗi sợ hãi tâm lý trong tâm trí Trang đến mức cô bị ám ảnh không thể bước vào thang máy ở bất cứ đâu. Cho đến khi người bạn thứ hai - Ngọc - cũng mất tích khi đang livestream trong chính cái thang máy của khu bệnh viện cũ kỹ.

The 10-minute film, Mad Ladders, is very much a collage itself, blending original and found imagery with a densely layered sound design, all surrounding differing notions of “revelation”. As the prophetic ramblings of an unseen narrator (pulled from her YouTube channel) recount fantastical dreams of the coming Rapture, crystalline imagery of rolling clouds gives way to heavily-processed video of moving stage sets from The American Music Awards telecasts of the 1980’s and early 1990’s.