Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. 　　 　　Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

Mani Kaul presents a searing study in Arrival. To the city come men, women, fruits, flowers, vegetables, goats and sheep – all ready for consumption. It is the process of consumption/exploitation that forms the core of the film. In a collage of images held together by an engaging soundtrack we are shown the brutality and dehumanisation of city life. Perhaps the best part of the film is the scene in the slaughterhouse where Mani shows us the routineness of death – rows upon rows of slaughtered goats and sheep, all ready for human consumption. Because he refuses to sentimentalise, the effect is electric. Only once before have I experienced the same cold academic ferocity, in Franju's La Sang des Betes. Mani extends the slaughterhouse metaphor to labour-intensive areas where human beings are exploited and reduced to insignificant cogs in a giant, merciiess machine. The film raises more questions than it can possibly answer. That perhaps is its intention. 　　 　　Mani Kaul intended to capture just the temporalities of the migrated workers. However films division added an English voice over to explain the images. The film is violent to say the least and is reminiscent in parts of Pasolini's later works.

这是，人类与超越人智的存在之间的诀别与共存的故事。社会上的大部分都交由名为hIE的人型机器人管理的世界。17岁的少年·远藤新人，某天与一台人型机器人·蕾西亚相遇，并与之缔结了主从契约。外表与人类一模一样的“那个物体”，是具备震惊世界性能的超高性能AI所诞生出来的，超越人智的五台人型机器人“人类未到产物”之一——。五台机体各自拥有自身的意义，为了得到对方的性能而开战。 　仅仅只能旁观这场战斗的大人们，与接近这一存在、试图建立新的关系的少年们。他们寻求着通向未来的选择，以及人类与物体之间关系的答案——。过度进化的机械，与人类世界的联系是什么？ 在过于便利的这个时代，什么是重要的，什么是必要的，新人通过与远优于人类的人型机器人·蕾西亚的相遇，寻求着通向未来的选择，以及人类与物体之间关系的答案——。

20世纪90年代，小龙 （李现饰）、方圆、三皮和大四在职高学校里虚度着大把青春。小龙和方圆同时爱上了美丽的女孩冬冬 （顾璇饰）。四人偷轮船汽油卖钱的事败露被寻仇上门，冬冬也因此神秘失踪，几人从此分道扬镳。时隔多年，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出当年冬冬“失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心 。

上世纪90年代长江边的小城里，反骨叛逆的男孩赵小龙（李现饰）遇上心爱女孩冬冬（顾璇饰）及其好友小梅（张绮烟饰）后，随着初心萌动，与几位好友：方圆（董博睿饰）、大四（林晓凡饰）、三皮（刘韦伯饰）、武义（李宗雷饰）走过肆意张扬的青春时光。这段青春最终因为冬冬的失踪戛然而止，十几年后，当兄弟们都面目模糊的走向中年时，只有小龙还固执地要为下落不明的冬冬讨个说法。聚会上，步入中年的四人回忆往昔，小龙却突然逼大四说出冬冬 “失踪”的真相，被尘封的“真相”，令他们永远无法抵达自己的内心.....

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？

一对各玩各的有钱夫妻遇到一对普通情侣，男生无法抗拒金钱诱惑去接近富人妻，女生也面临同样诱惑，她最终能否坚守底线？

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。