十年前的一次超自然发光事件导致张鹏（小沈阳 饰）的好友神秘失踪，十年后，张鹏跟随摄制组重返事发地寻找真相。当他们再次来到“发光禁地”时却频繁遭遇离奇恐怖的事件，认知逐渐错乱、躯体不断恶化、理性逐步崩坏，禁忌的骇人真相，将不可逆地摧毁一切……光源不再象征安全，请远离所有发光体！

十年前的一次超自然发光事件导致张鹏的好友神秘失踪。十年后摄制组找到张鹏，提出重回事发地象山拍摄一部找寻真相的影片。在象山受访者对当年事件给出的不同描述让调查陷入重重谜团。当他们历经波折进入那个人工开凿的神秘洞穴时，却发现所谓谜团都是导演的蓄意安排。但真相只是这样吗？在这个谜一样的洞穴里，谁是操纵者，谁是被操纵者已经无法确定。随着那扇尘封的水泥大门被推开，眼前发生的一切远超他们的想象……

阳光明媚的一天，一辆长途大巴搭载着来自四面八方的游客驶向他们的目的地。车上一位天津口音的男人和身边的小舅子大聊特聊，感慨当今的中国人没有信仰。就在此时，大把突然爆胎，乘客们惊叫过后恢复平静，大家纷纷下车呼吸新鲜空气，戴着眼镜的青年阿志也跟着下来。这时一位朴素美丽的姑娘骑着自行车来到路旁，她不能说话，日常靠卖象山特产的水果为生。阿志希望买两个水果，但他拿出的一百元大钞对方根本找不开，于是女孩拿着钱回镇上换零钱，却久久不曾归来。 　　天津游客走上来，说阿志一定上当了，现在的人早已没有了信仰……

阳光明媚的一天，一辆长途大巴搭载着来自四面八方的游客驶向他们的目的地。车上一位天津口音的男人和身边的小舅子大聊特聊，感慨当今的中国人没有信仰。就在此时，大把突然爆胎，乘客们惊叫过后恢复平静，大家纷纷下车呼吸新鲜空气，戴着眼镜的青年阿志也跟着下来。这时一位朴素美丽的姑娘骑着自行车来到路旁，她不能说话，日常靠卖象山特产的水果为生。阿志希望买两个水果，但他拿出的一百元大钞对方根本找不开，于是女孩拿着钱回镇上换零钱，却久久不曾归来。 　　天津游客走上来，说阿志一定上当了，现在的人早已没有了信仰……

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

男主因就业诈骗而不得不为了谋生而暂时加入一家专门清理犯罪现场的清洁公司，而入职后的一次清洁工作却意外引出了其背后的就业诈骗团伙。

Light on Earth will examine the phenomena of so-called bioluminescence.

电影讲述了两位白手起家的年轻人的故事，他们一个是三流的发明家，一个是善于欺骗的推销员，两人利用一个小发明成为了全世界关注的焦点。