故事根据首批中国非物质文化遗产——海宁皮影创意创作。 　　海宁。昆曲“吴风班”中，朴实的大江一直暗恋着师妹天音，可惜天音已经许配给了师兄长虹。 　　大江对光影有特殊敏感，夜夜对着“走马灯”在揣摩手影。一次无意中得到了一个神秘的木箱，里面装着一箱皮影戏曲人物和道具，还有一本戏考：《芙蓉记》，大江看得入迷了…… 　　长虹准备带着吴风班去上海发展，告别演出《长生殿》的当天，范长虹嗓子失声，不能上场，陷入困境。没想到，大江前来“救场”，代替范长虹演出，一解天音之危。 　　天音感激大江，并去乡间观看了他的皮影戏。却被别人看到，引起了闲言闲语。 　　大江忍受不了爱的煎熬，但也不愿破坏师兄、师妹的关系，突然不辞而别。天音无奈只好与长虹去上海发展。 　　大江在一位大叔的帮助下，来到了悄悄来到观潮胜地：盐官镇，住在一艘废弃大船上，继续埋头搞他的皮影来排遣痛苦。大江决心复兴海宁传统皮影戏，想再现当年的辉煌。于是，大江组成了新的皮影戏班：“江海班”。

父亲去世后，同父异母的兄弟俩在一场不断升级的冲突中站到了对立面，悲剧随之而来。

自从金娜拉女王谋杀国王以来，阿贝隆王国便在其统治下陷入黑暗。她的兄弟埃尔德隆王子被流放和追捕，于是加入了一场叛乱，召唤巨龙，试图击败女王及其所侍奉的黑暗诸神。

自从金娜拉女王谋杀国王以来，阿贝隆王国便在其统治下陷入黑暗。她的兄弟埃尔德隆王子被流放和追捕，于是加入了一场叛乱，召唤巨龙，试图击败女王及其所侍奉的黑暗诸神。

Meticulously, they inspect their own body as the camera looks on, documenting every step of their transition. Yet what starts off as a young filmmaker’s audiovisual diary soon expands into a confrontation with their own past. It is not easy to break out of a cocoon spun from motherly demands and grievances – especially when your body gets treated as a family matter, and when your need for autonomy is met with incomprehension. 　　源自：https://www.berlinale.de/en/2023/programme/202301119.html

Meticulously, they inspect their own body as the camera looks on, documenting every step of their transition. Yet what starts off as a young filmmaker’s audiovisual diary soon expands into a confrontation with their own past. It is not easy to break out of a cocoon spun from motherly demands and grievances – especially when your body gets treated as a family matter, and when your need for autonomy is met with incomprehension. 　　源自：https://www.berlinale.de/en/2023/programme/202301119.html

《误杀》导演柯汶利第二部「利」作！霸凌者全员遭惨杀？！ 初中女生惠君长期遭校园霸凌高处坠亡，暴行非但没有停止，甚至祸延到闺蜜小彤身上。然而，霸凌者也接连殒命于重锤之下。在连环杀人案的背后，难脱嫌疑的众人逐一浮出水面：小彤的母亲目睹女儿被胶水封嘴却闭口不言，校工林在福看似知晓内情却冷漠疏离，暗中窥探的神秘男吴望看似身陷险境却面露笑容……杀害霸凌者的雨夜屠夫究竟是他们其中的何人？调查案件的警官戴国栋似乎被假象蒙蔽，探秘过程中，宗宗藏污纳垢的旧事被揭开，所有人都被推到了风口浪尖。善恶有报罪恶难逃，真相即将揭晓……

女子中学学生陈语彤遭遇校园霸凌，母亲李涵却无法拯救身处“地狱”的女儿，身边所有人更是“视而不见”，一场集体的沉默酝酿着更大的暴力……

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/

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.