The main character, his wife and small son lose their way and become stuck on a country road. As a result...

The main character, his wife and small son lose their way and become stuck on a country road. As a result...

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

当一个年轻女子的车在俄勒冈州抛锚时，她发现自己受一个偏执的阴谋理论家的摆布，她以为她是政府特工。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

空难之后，空姐夏瑶和少女李薇漂流到一个神秘的海岛，这是《山海经》里的扶桑树因封印下沉，树冠形成的海岛，故名“扶桑”岛，岛上全是巨型的奇花异草和庞然怪兽，数万年来外面的世界发现不了它，上面的生物也出不去。两个女孩被岛上的耳鼠部族当成九天玄女，先知告诉她们想要离开“扶桑”岛就要上天维峰得到金冠解除封印。岛上四大凶兽的后代觊觎金冠的神力想要擒获两位少女，夏瑶和李薇几经危险，幸得猎人伊人相救。解除封印后，上古恶龙——狧坤也被唤醒，为保护“扶桑”岛、拯救世界，夏瑶和李薇团结耳鼠部族和四大凶兽后裔，在天维峰与恶龙展开拼死博斗……

空难之后，空姐夏瑶和少女李薇漂流到一个神秘的海岛，这是《山海经》里的扶桑树因封印下沉，树冠形成的海岛，故名“扶桑”岛，岛上全是巨型的奇花异草和庞然怪兽，数万年来外面的世界发现不了它，上面的生物也出不去。两个女孩被岛上的耳鼠部族当成九天玄女，先知告诉她们想要离开“扶桑”岛就要上天维峰得到金冠解除封印。岛上四大凶兽的后代觊觎金冠的神力想要擒获两位少女，夏瑶和李薇几经危险，幸得猎人伊人相救。解除封印后，上古恶龙——狧坤也被唤醒，为保护“扶桑”岛、拯救世界，夏瑶和李薇团结耳鼠部族和四大凶兽后裔，在天维峰与恶龙展开拼死博斗……