一个复杂而又迷幻的实验探索着时间和身份。《逆时针》是一部真实的，富有惊人创意的电影，巧妙得混合了电影和视频技术。导演简·雅顿和杰克·邦德精妙地捕获到西方社会中许多人那份生活所带给他们的焦虑感和危险性的心理，富含着高度紧张和高智慧。《逆时针》是一部充满神秘迷幻令人感到不安而又令人兴奋的电影。

型にはまった平凡な生活に対して疑問を持つ少年・篠崎由宇。みんなと同じ「右回り」の人生を送りたくないと考える彼は、あえて「左回り」の行き方を選び、高校を休学してバイクで旅に出る。日本全国を回り、様々な人と出会いながら、由宇は成長していく。「月刊少年キャプテン」（徳間書店・刊）で連載されていた、新谷かおる原作の同名のマンガをアニメ化。全２巻のＯＶＡで、各巻２話収録。基本的には原作を丁寧に再現しており、クセのある新谷かおるのキャラクターの顔もよく似せている。またウンチク好きの新谷かおるの作風はアニメ版でも健在で、バイク、ツーリング関連の知識が身に付くバイク初心者向けのビデオとして見ることができる。主人公の由宇役の佐々木望を始め、松本保典、荘真由美、林原めぐみ等、当時の若手声優が多数登場している。

十岁的小女孩田麦麦重生回到1998年携带前世记忆守护家庭并且阻止重男轻女的奶奶卖孙逼婚的阴谋，智斗人贩揭穿谎言，撮合父母揪出父亲死亡真相以肾脏救母逆转悲剧，在抗洪救灾与神舟升空的年代洪流中用童真与坚韧缝合破碎亲情。

《时针》，作品名英译版意为“时间之针”，是作者对“未来，未来”一语在时间概念层面的一份回应。影像中，时钟反复的滴答声贯穿整片，作者回溯其个人对于早期超现实主义短片电影的观看经验，并以此反哺到作品的基础构思。钟表盘、金属针、手机界面、眼球及眼睛符号等诸多意象相勾连，“未来是一种等待时间上的重复”一语以晦涩的词语排列方式在作品中重复出现，是作者对未来的一种发问，也是对此“发问”的一种方式的答语。

Kindertotenlieder constructs the chronology of the 2005 riots, starting with the death of Zyed Benna and Bouna Traoré, who were chased by the police, through to the curfew imposed by Sarkozy as Minister of the Interior. The film has borrowed its title from a group of poems written by Friedrich Rückert in 1834 following the death of his two children and later put into song by Gustav Mahler. More importantly, the images were borrowed from reporters working for the French television channel TF1, which authorised their re-use for the film, as an end title card indicates. However, Virgil Vernier rids these images of their original editing and graphics. Stripped of the voice-overs that bent them to suit the purposes of the narrative fabricated by the dominant national television channel, they obey the laws of a new structure that restores chronological or serial linkages: an inventory of the television’s linguistic elements or a catalogue of burnt-out cars and the projectiles used. It could be said that Vernier takes the side of things and sets the film firmly at the place where language and objects cohabit in an inflammable closeness out of which spring as many harmful ideas as luminous collisions. “Are we cars that need to be waterblasted?”, asks for example one young man in response to the government’s vindictive gesticulations. The extent of the comments in the street interviews, which go beyond their vignette formats, tends not only to redeem the work of reporters, much as Jacques Rozier redeemed the paparazzi’s work at the time of Contempt, but also to refocus the discussion on the demand for justice and equality, which when it tries simply to express itself, receives as sole reply extraordinary repression. These images are almost brought back to the state of rushes and tell us that this film is never finished.