A young man obsessed with body image is thrust into a world of drugs, crime, and deception.

After leaving the youth shelter, a filmmaker lost in Christian faith begins filming his friend, who has turned to Satanism. His friend, a bankrupt ex-convict, trains tirelessly day and night, desperate to prove his worth. Yet, the people who care about him leave one after another.

After leaving the youth shelter, a filmmaker lost in Christian faith begins filming his friend, who has turned to Satanism. His friend, a bankrupt ex-convict, trains tirelessly day and night, desperate to prove his worth. Yet, the people who care about him leave one after another.

“化生”出自《金刚经》，梵语upapa^duka，臺北教育大學北師美術館序曲展短片作品。台灣資深燈光師李龍禹先生參與拍攝的最後一部作品。

“化生”出自《金刚经》，梵语upapa^duka，臺北教育大學北師美術館序曲展短片作品。台灣資深燈光師李龍禹先生參與拍攝的最後一部作品。

袁大卫是洋行小职员,一次在巴士上让位给美丽女子王惠玲,彼此留下深刻的印象.大卫在其他同事的鼓励下,提起勇气到乘搭巴士的地方认识玲.大卫等了两日两夜才见到玲.玲为试探大卫的真诚,利用工人秀凤的未婚夫张福全扮作她的男朋友,结果累得他们打起架来,最后,玲承认她是爱大卫的.大卫因打架受伤回家,原来玲的妈妈和大卫的爸爸也是爱侣,双方家长因而相遇,两对情侣以互相吻贺来结束这个故事.

袁大卫是洋行小职员,一次在巴士上让位给美丽女子王惠玲,彼此留下深刻的印象.大卫在其他同事的鼓励下,提起勇气到乘搭巴士的地方认识玲.大卫等了两日两夜才见到玲.玲为试探大卫的真诚,利用工人秀凤的未婚夫张福全扮作她的男朋友,结果累得他们打起架来,最后,玲承认她是爱大卫的.大卫因打架受伤回家,原来玲的妈妈和大卫的爸爸也是爱侣,双方家长因而相遇,两对情侣以互相吻贺来结束这个故事.

Entente Cordiale intends to illustrate colonisation as a human phenomenon in an explicit manner as well as in a metaphoric sense without suggesting simplified accusations or political propositions. It will not be a historical film since colonisation as well as slave trade are still happening today - in a modified way, a more industrial, massive and more global fashion than a hundred years ago.

Entente Cordiale intends to illustrate colonisation as a human phenomenon in an explicit manner as well as in a metaphoric sense without suggesting simplified accusations or political propositions. It will not be a historical film since colonisation as well as slave trade are still happening today - in a modified way, a more industrial, massive and more global fashion than a hundred years ago.

“I have on occasion experienced filmmaking as an intensely shared activity. Lively friendships result and remain. Filming that affection today is no act of nostalgia. Paths once crossed make things simple. People who have been behind the camera, or in front of it, giving the movie their all, are without illusion.” (Alain Cavalier)