身为南极考察队成员的 “我”，因生理期未随队外出，侥幸躲过全队遇难的事故，独自发现一座废弃观察站。极昼将在 37 天后转极夜，若未抵达 15 公里外的目标观察站，“我” 终将冻死。 观察站内有物资与可运转的煤油发电机，暂时解决了温饱取暖。“我” 依据地图向东南侧探寻，可冰原无参照物，方向屡屡出错，还遭遇暴风雪、冰缝、落水等险境，身心俱疲。 日子推移，食物与燃料日渐匮乏，第 36 天只剩最后一包压缩饼干。“我” 孤注一掷出发，遭十级大风阻拦，午夜风停后继续跋涉 4 小时，抵达目的地却一无所获。极夜降临，“我” 绝望闭眼失去知觉，绝境中却隐约听到呼喊，留下一线生机悬念。

1996年1月12日，台北县板桥浮洲桥流浪狗收容所，有两位义工妈妈发现收容所没有喂食饲料，造成狗吃狗事件。两位义工妈妈：杨秋华与汤妈妈，从此主动每隔两三天就到这个收容所喂食和照顾两三百只流浪狗。3月16日，我和摄影师第一次去拍摄，我才真正了解，原来收容所就位于垃圾掩埋场内，台湾是把流浪狗当成垃圾处理。 　　1996年4月3日，杨秋华在浮洲桥收容所发现“随和”时，它是一只一个多月大的小白狗，它长得并不好看，对人很有警觉性。为了怕以后收容它的人跟它不好相处，才把它取名随和。随和在李政道兽医师的诊所就医，杨秋华与李医师开始一段真诚的争辩。两人的争辩，没有谁对谁错，只有令人动容的感受……

1996年1月12日，台北县板桥浮洲桥流浪狗收容所，有两位义工妈妈发现收容所没有喂食饲料，造成狗吃狗事件。两位义工妈妈：杨秋华与汤妈妈，从此主动每隔两三天就到这个收容所喂食和照顾两三百只流浪狗。3月16日，我和摄影师第一次去拍摄，我才真正了解，原来收容所就位于垃圾掩埋场内，台湾是把流浪狗当成垃圾处理。 　　1996年4月3日，杨秋华在浮洲桥收容所发现“随和”时，它是一只一个多月大的小白狗，它长得并不好看，对人很有警觉性。为了怕以后收容它的人跟它不好相处，才把它取名随和。随和在李政道兽医师的诊所就医，杨秋华与李医师开始一段真诚的争辩。两人的争辩，没有谁对谁错，只有令人动容的感受……

Vincent, a truck driver, picks up a young pregnant woman. She turns out to have an unstable temper… and an automatic pistol. She orders Vincent to continue driving, without stopping. When he's out of gas, she'll kill him.

A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

March 27th, 1964. The New York Times published an article headlined '37 Who Saw Murder Didn't Call the Police.' For more than half an hour, 37 law abiding citizens in Queens watched their neighbor, Kitty Genovese, being brutally killed outside their apartment building. Florel and Jack Bernstein were among those bystanders. A shirt film.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

以黑川翔子的报导文学改编，在一所被称为底层学校的县立高中，一年内多达相当一个班的40名学生辍学，教师们努力解决现代社会两极化下中学生面临的各种问题，描述基于一个关于新老师的冲突和成长的真实故事。

一个亿万富豪企业家冲动地制作一部经典电影，于是找来知名电影人萝拉执导这部野心勃勃的大制作，众星云集的主演阵容里有两位重量级、但麻烦多多的演员：荷里活型男菲力斯和偏激的舞台剧演员伊凡，两个传奇人物同时也是死对头。经过萝拉设下一连串光怪陆离的试炼之后，菲力斯和伊凡不只要正面交锋，还要保全各自的名声。当电影终于开拍时，谁能笑到最后？