徐自强是一位被关了十六年的冤狱当事人，也曾经是一位面临枪决的死刑犯；纪岳君则是一位不懂法律的纪录片导演。徐自强辛苦做着生死交关的人生练习题，纪录片创作者与观众在追寻真相的过程中，其实也做着另一种考验人性的练习题，我们将会看见人类有限的能力，如何在不足的司法制度和骄傲的执法者手中，构建着那不堪一击的公平正义。这是一段让我们共同学习如何面对人生、信念、关爱与真实的旅程。

徐自强是一位被关了十六年的冤狱当事人，也曾经是一位面临枪决的死刑犯；纪岳君则是一位不懂法律的纪录片导演。徐自强辛苦做着生死交关的人生练习题，纪录片创作者与观众在追寻真相的过程中，其实也做着另一种考验人性的练习题，我们将会看见人类有限的能力，如何在不足的司法制度和骄傲的执法者手中，构建着那不堪一击的公平正义。这是一段让我们共同学习如何面对人生、信念、关爱与真实的旅程。

讲述了虽然是‘无知、无识、无学’的三无人员，但是生活力顽强的男人和浑身上下散发贵族气质却生活自理能力为零的女人通过美术馆这一空间逐渐缩小彼此距…

In The Practice, Argentine yoga instructor Gustavo resides in Chile, and a recent injury prohibits him from continuing his yoga practice after losing his wife and home, which leads to a variety of absurd interactions in this naturalistic comedy.

In The Practice, Argentine yoga instructor Gustavo resides in Chile, and a recent injury prohibits him from continuing his yoga practice after losing his wife and home, which leads to a variety of absurd interactions in this naturalistic comedy.

我和另一个人，以互助移动的方法来演习各种日常动作。沿着社区街道各种物体和空间，不 作任何排演的前提下，相互摆设和即兴处理对方的身体，来逐渐前行。时而静止和时而互助 移动的过程，看起来更像在一个剧场和一个现实空间之前来回穿梭。

戏剧系将准备期末展演，吴铭伟与佼佼者陈以安一组开始密切接触排练。过程中以安不断引导和帮助资质较浅的铭伟，铭伟因此对以安产生别样情愫，并试图付出行动。误会随着排练逐渐加深，铭伟如何面对心中的坎？ 　　As the drama department prepares for the semester's final show, Wu Mingwei paired with an exceptional classmate, Chen Yian. During the rehearsals, Yian guides Ming Wei, where he develops feelings for her and attempts to take initiative. As their misunderstanding deepens with the rehearsals, how will Mingwei face the obstacles within?

戏剧系将准备期末展演，吴铭伟与佼佼者陈以安一组开始密切接触排练。过程中以安不断引导和帮助资质较浅的铭伟，铭伟因此对以安产生别样情愫，并试图付出行动。误会随着排练逐渐加深，铭伟如何面对心中的坎？ 　　As the drama department prepares for the semester's final show, Wu Mingwei paired with an exceptional classmate, Chen Yian. During the rehearsals, Yian guides Ming Wei, where he develops feelings for her and attempts to take initiative. As their misunderstanding deepens with the rehearsals, how will Mingwei face the obstacles within?

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).

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).