知子罗”在傈僳语里的意思是“好地方”。电影通过怒江流域4位男女主角从20世纪60年代出生到今天的成长经历和充满戏剧色彩的人生，以其价值观念的转变和情感故事为主线，透视社会变革历程对人性和灵魂深处的撞击。

知子罗”在傈僳语里的意思是“好地方”。电影通过怒江流域4位男女主角从20世纪60年代出生到今天的成长经历和充满戏剧色彩的人生，以其价值观念的转变和情感故事为主线，透视社会变革历程对人性和灵魂深处的撞击。

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.

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

知青时期，陈志刚与李红秋相恋，却因回城浪潮分离。陈志刚回城后考学创业，成知名企业家；李红秋怀孕后被兄逼嫁地痞刘军，遭数十年家暴。 二十多年后，离婚独居的李红秋应聘成陈志刚家保姆，彼时陈志刚妻子早逝，与养子陈家豪相依。重逢让两人重燃爱火，却引危机：陈家豪（被生母张玉芬卖掉）觊觎家产，设计羞辱李红秋；刘军现身，以两人亲生儿子刘伟栋的身世要挟；陈母也因门第反对。 陈家豪将陈志刚推下楼梯致其失忆，侵吞公司。李红秋用回忆唤醒爱人，已成总裁的刘伟栋得知真相，联手父亲夺回企业，送刘军入狱。历经绑架、和解等波折，陈志刚在两子见证下求婚，两人终获幸福，印证真爱不惧时光与身份。

用偽錄片形式拍攝，講述四位年輕人追夢的故事：事業型又追尋幸福的樂樂 (27歲)、憤世火爆的「炒工王」滴滴仔 (23歲)、只相信網絡世界，一心想成為KOL的Daisy (21歲)、來自內地希望進軍香港電影的阿俊 (28歲)。

用偽錄片形式拍攝，講述四位年輕人追夢的故事：事業型又追尋幸福的樂樂 (27歲)、憤世火爆的「炒工王」滴滴仔 (23歲)、只相信網絡世界，一心想成為KOL的Daisy (21歲)、來自內地希望進軍香港電影的阿俊 (28歲)。