Behind the scenes of a porn shoot, the actors are practicing various positions. The rumour is that one of the girls is doing a double anal, an advanced routine that requires someone extremely tough. A startling film about workplace intrigue, set at a decidedly different place of work.

Behind the scenes of a porn shoot, the actors are practicing various positions. The rumour is that one of the girls is doing a double anal, an advanced routine that requires someone extremely tough. A startling film about workplace intrigue, set at a decidedly different place of work.

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

我们这个时代已经进入了宅文化统治的时代，越来越多的年轻人喜欢宅在家中，工作、购物、生活，逐渐的，他们都成为各方专家，有的精通时政，有的精通星座速配，有的精通经济，甚至有人精通养生，本剧就汇集了这样一群宅男宅女，他们机缘巧合，共同生活在了一个屋檐下，上演了一出出嬉笑怒骂、让人欲罢不能的爆笑故事。

我们这个时代已经进入了宅文化统治的时代，越来越多的年轻人喜欢宅在家中，工作、购物、生活，逐渐的，他们都成为各方专家，有的精通时政，有的精通星座速配，有的精通经济，甚至有人精通养生，本剧就汇集了这样一群宅男宅女，他们机缘巧合，共同生活在了一个屋檐下，上演了一出出嬉笑怒骂、让人欲罢不能的爆笑故事。

《快乐520》是一部风格新颖的都市系列治愈型网络轻喜剧，全部剧由资深港产片班底人员们倾情奉献。