威尔斯唯一一部公映的彩色电影，故事依旧奇情：澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。 　　The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.

威尔斯唯一一部公映的彩色电影，故事依旧奇情：澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。 　　The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.

The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间.....

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 　　取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。