暑假尾聲，一群高中生的平靜生活忽然被打破：自稱Admin的人把他們加進奇怪群組，強制開始一場「死亡遊戲」——在他們除掉身份不明的「目標人物」前，只要不回覆同學訊息就會立即爆頭死亡！班上同學離奇斃命，引起眾人一陣恐慌。性格溫和安於平淡的何晞賢，為了守護自己珍而重之的朋友，開始與Admin之間的角力；希望讓全班生還的楊悅盈，不惜以身犯險亦要揭穿Admin的真面目；想法偏激的石曉陽，極力要找出「目標人物」除之而後快，犧牲小數拯救多數。三人各自按著自己的信念，努力行動、思考，想拯救同學。無奈在死亡壓力之下，班中各人漸漸露出扭曲的本性：柯志恆為了勝出，開始利用遊戲規則殺害同學；有人為了復仇，殘暴地親手殺害同窗；有人為了生還，把重要的身邊人都當成了棋子。本來青春陽光的高中舞台，瞬間變成血與背叛的修羅場……

暑假尾聲，一群高中生的平靜生活忽然被打破：自稱Admin的人把他們加進奇怪群組，強制開始一場「死亡遊戲」——在他們除掉身份不明的「目標人物」前，只要不回覆同學訊息就會立即爆頭死亡！班上同學離奇斃命，引起眾人一陣恐慌。性格溫和安於平淡的何晞賢，為了守護自己珍而重之的朋友，開始與Admin之間的角力；希望讓全班生還的楊悅盈，不惜以身犯險亦要揭穿Admin的真面目；想法偏激的石曉陽，極力要找出「目標人物」除之而後快，犧牲小數拯救多數。三人各自按著自己的信念，努力行動、思考，想拯救同學。無奈在死亡壓力之下，班中各人漸漸露出扭曲的本性：柯志恆為了勝出，開始利用遊戲規則殺害同學；有人為了復仇，殘暴地親手殺害同窗；有人為了生還，把重要的身邊人都當成了棋子。本來青春陽光的高中舞台，瞬間變成血與背叛的修羅場……

影片以一个在地震中失去父母的小女孩佳颖为主人公，她被收养到新的家庭后，逐渐与奶奶建立起深厚感情。两人一同学习识字、喂养鸽子、分享秘密，在点滴日常中形成了跨越血缘的情感链接。 然而随着奶奶的病痛到来，女孩必须直面对生命无常的痛苦无助与告别分离的生命课题…… 影片没有过度的煽情渲染，而是以诗意细腻的方式展现成长中绕不开的课题：生命、爱与死亡。

海因茨是一名中年家庭男人，因工作中的一系列沟通失误而面临失业的危机。为了证明自己不只是一个“老白男”，他邀请了老板和客人参加家庭晚宴，试图展示自己的家庭既现代又“觉醒”。然而，事情却一发不可收拾，旧怨浮现、意外的客人到访，谈话也围绕当今最敏感的话题逐渐失控。

“Old White Man” examines the generational and cultural divide in today’s society through the lens of Heinz Hellmich, a middle-aged family man on the verge of losing his job after a series of communication blunders at work. Desperate to prove he’s not just an “old white man,” he invites his boss and guests to a dinner party, aiming to present his family as modern and “woke.” However, chaos ensues as old grievances resurface, unexpected guests arrive, and the conversation spirals through today’s most sensitive issues.

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

一场大火袭来，弟弟徐自强被困其中，姐姐徐梦舍身入火海，虽救下弟弟，老宅却塌了，她只得跟着父亲徐振华，去了新家。后妈潘洁尖酸刻薄，不愿出钱供两人读书，徐梦便捡垃圾供弟弟上学，自强很争气，考上了状元！但潘洁为了自己儿子徐建的大学梦，竟将徐自强买进了黑煤窑，还好他逃出生天，但自此下落不明。徐梦疯了，她见到谁都喊弟弟。这日，在潘洁将她以五十万彩礼卖出去的那天，弟弟徐自强来到了婚宴现场。