哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间.....

The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

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

改编自古龙的小说《大地飞鹰》。

改编自古龙的小说《大地飞鹰》。

故事讲述一个出租车司机Man Cheung（黄子华饰），他一直很喜欢Wu Wan Kei-Man（江希文饰），甚至是经常对她性幻想，而Wu Wan Kei-Man则是在做伴唱，他们就是司机与乘客的关系，不过关系逐渐发展成朋友。在一次意外，Man Cheung变成性无能。而医生叫他找个地方静养一下，于是，他来到南丫岛，Wu Wan Kei-Man也住在南丫岛。在那遇他到一个酒吧老板娘Billie（蔡少芬饰），因为在打游戏机输给Billie，就留在Billie的酒吧打工。没多久遇到了另外一个女警Madam Ron（孙佳君饰）。Madam Ron的叔父患了绝症，因为她自己无能力去救叔父，所以想帮助一个自己可以帮助的人，而Madam Ron知道Man Cheung是性无能以后，想帮助他恢复能力。于是，他们产生一段感情，不过因为再次意外，他又恢复了能力，最终在一起。Tung（张达明饰）是Wu Wan Kei-Man的老公，Wu Wan Kei-Man就是为了他来香港才去找蔡少芬借钱，而为还钱就去做伴唱，还做舞女。而Tung是一个艺术家，来到香港Tung察觉出了Man Cheung对他老婆的暧昧感情，同时也发现了Billie和他老婆是同性恋的关系。但是，这个男人一口一个的人民公社制度，想和Billie，Wu Wan Kei-Man三人组成一个家庭，可惜是Billie不同意。最后，Wu Wan Kei-Man觉得纠缠在Billie和Tung之间很累，于是离开他们两个。

故事讲述一个出租车司机Man Cheung（黄子华饰），他一直很喜欢Wu Wan Kei-Man（江希文饰），甚至是经常对她性幻想，而Wu Wan Kei-Man则是在做伴唱，他们就是司机与乘客的关系，不过关系逐渐发展成朋友。在一次意外，Man Cheung变成性无能。而医生叫他找个地方静养一下，于是，他来到南丫岛，Wu Wan Kei-Man也住在南丫岛。在那遇他到一个酒吧老板娘Billie（蔡少芬饰），因为在打游戏机输给Billie，就留在Billie的酒吧打工。没多久遇到了另外一个女警Madam Ron（孙佳君饰）。Madam Ron的叔父患了绝症，因为她自己无能力去救叔父，所以想帮助一个自己可以帮助的人，而Madam Ron知道Man Cheung是性无能以后，想帮助他恢复能力。于是，他们产生一段感情，不过因为再次意外，他又恢复了能力，最终在一起。Tung（张达明饰）是Wu Wan Kei-Man的老公，Wu Wan Kei-Man就是为了他来香港才去找蔡少芬借钱，而为还钱就去做伴唱，还做舞女。而Tung是一个艺术家，来到香港Tung察觉出了Man Cheung对他老婆的暧昧感情，同时也发现了Billie和他老婆是同性恋的关系。但是，这个男人一口一个的人民公社制度，想和Billie，Wu Wan Kei-Man三人组成一个家庭，可惜是Billie不同意。最后，Wu Wan Kei-Man觉得纠缠在Billie和Tung之间很累，于是离开他们两个。