林深是一名程序员，发明了一款帮扶老人的智能AI程序。因低价上市的想法遭合伙人江离反对，两人决裂，林深更在当晚遇袭昏迷。 昏迷中，他的意识被江离植入一个虚拟世界。在其中，他失去了部分记忆，并以为自己获得了能看到数据的超能力。江离安排侦探妍梦然引导他，企图套出智能程序的隐藏地点。 尽管记忆被篡改，林深凭借其能力逐渐察觉到世界的虚假。最终，他识破了这场骗局，并通过在梦中坠楼的方式强行刺激自己苏醒。 回到现实后，林深实名举报了江离的违法行为。之后，他带着妻子返乡，最终成功将程序低价推广，造福社会。

Based on an idea by Eisenstein, who dreamt of composing the 101 poses of Robert Macaire - a popular French character epitomizing the unscrupulous swindler - as represented in the 101 lithographs of the series Caricaturana by Honoré Daumier. First, a montage of the gestures as Eisenstein envisaged. Then, original texts are added to the caricatures. And finally, we took the liberty to use them as a commentary to some current news.

根据侦探小说鼻祖美国大作家爱伦坡的著名小说改编。江湖棋人带着他的“机械棋手”走遍整个欧洲与人下棋，他们来到马埃泽尔，一农场主留住了他们摆开了棋场，“机械棋手”百战百胜。然而在与农场主妻子苏菲下棋时，却把苏菲颈部抓伤。原来机械棋人并非机械的智慧，而是藏在机械底下的小矮人所为，小矮人把秘密都告诉了苏菲，苏菲对长期被关在箱子里的小矮人表示同情。农场主请来一位将军与“机械棋手”下棋，不料“机械棋手”掏出手枪将美丽的苏菲和自己的主人江湖棋人打死，小矮人也同归于尽。

《李沧东：讽刺的艺术》由法国导演Alain Mazars执导，讲述找寻李沧东导演的作品和导演的开始，以及成为导演前李沧东的故事。就像《薄荷糖》倒叙回溯过去一样，这部纪录片也从《心跳声》制作过程开始，回到《绿鱼》，进而讲述导演之前的生活。 　　除了作品以外，还有曾于李沧东导演合作的演员们包括刘亚仁、李大卫、全度妍、宋康昊、薛景求、文素利、文成根演员的采访，可以更加生动地了解制作当时的情况。随着李沧东导演本人亲自前往当时的拍摄地并交流的过程，不仅可以了解作品的导演意图，还能听到对艺术本身的讨论。

《李沧东：讽刺的艺术》由法国导演Alain Mazars执导，讲述找寻李沧东导演的作品和导演的开始，以及成为导演前李沧东的故事。就像《薄荷糖》倒叙回溯过去一样，这部纪录片也从《心跳声》制作过程开始，回到《绿鱼》，进而讲述导演之前的生活。 　　除了作品以外，还有曾于李沧东导演合作的演员们包括刘亚仁、李大卫、全度妍、宋康昊、薛景求、文素利、文成根演员的采访，可以更加生动地了解制作当时的情况。随着李沧东导演本人亲自前往当时的拍摄地并交流的过程，不仅可以了解作品的导演意图，还能听到对艺术本身的讨论。

Loriot, whose real name was Bernhard-Viktor Christoph-Carl von Bülow, or Vicco von Bülow for short (1923-2011), is considered to have been the greatest and most versatile German comedian of the twentieth century. From 1976 to 1978, Radio Bremen commissioned his six-part television series “Loriot”, in which live action skits alternated with short animated sketches. The series is believed to be the highpoint of Loriot’s television work and was to establish his cult status; it has long been an integral part of German cultural heritage. In an interview with Spiegel magazine, Loriot once said: “Everything I find funny stems from crumbling communication and from talking past each other”. Parading this miscommunication before us in scenes that feature married couples, families and bourgeois society, he lays bare the absurdity of our everyday lives determined by rules and norms. Daughters Bettina and Susanne von Bülow and director Peter Geyer are marking the centenary of Loriot’s birth with this presentation of Loriots große Trickfilmrevue, for which 31 of his best-loved animations originally made for television between 1967 and 1993 have been carefully redrawn (and some coloured for the first time) to match Loriot’s style and transferred to a cinema format in 4K.

Loriot, whose real name was Bernhard-Viktor Christoph-Carl von Bülow, or Vicco von Bülow for short (1923-2011), is considered to have been the greatest and most versatile German comedian of the twentieth century. From 1976 to 1978, Radio Bremen commissioned his six-part television series “Loriot”, in which live action skits alternated with short animated sketches. The series is believed to be the highpoint of Loriot’s television work and was to establish his cult status; it has long been an integral part of German cultural heritage. In an interview with Spiegel magazine, Loriot once said: “Everything I find funny stems from crumbling communication and from talking past each other”. Parading this miscommunication before us in scenes that feature married couples, families and bourgeois society, he lays bare the absurdity of our everyday lives determined by rules and norms. Daughters Bettina and Susanne von Bülow and director Peter Geyer are marking the centenary of Loriot’s birth with this presentation of Loriots große Trickfilmrevue, for which 31 of his best-loved animations originally made for television between 1967 and 1993 have been carefully redrawn (and some coloured for the first time) to match Loriot’s style and transferred to a cinema format in 4K.