故事发生在80年代的德国，那个时候，流行电子音乐依然是不被大众所认可的地下文化。哈里（汤姆·希林 Tom Schilling 饰）是阿波罗乐队的经纪人，因为文化审美的狭隘，阿波罗乐队的人气一直都不温不火。为了重振乐队的士气，哈里决定在皇冠马戏团开一场演唱会，并且扬言要邀请重磅嘉宾来为演唱会助势。 　　几乎是在一夜之间，演唱会的海报和宣传就出现在了城市的各个角落里，市民们对这场演唱会的兴致被钓到了最高点。直到此时，哈里才意识到一个问题，那就是想要办一场演唱会，除了明星阵容和疯狂造势外，有一样东西必不可少，那就是资金。

高一的尾端，社團幹部輪替的前夕，樂團裡的人際關係緩緩變化。建甫是多數人臆測的社長人選，被定義為人生勝利組的他，是林翰、佑賢、智杰心中巨大的存在，他像一面鏡子，映照出旁人內心的困境，在剛好容下一個樂團的社團辦公室裡，對未來的生活有著不同看法的四人，他們必須面對各自的課題。

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

本片讲述重组家庭中性格迥异的俩个女孩---刁蛮单纯的田馨和冷酷倔强的林爱茜，同住一屋檐下生活，同一所大学求学，俩人从相互嫌弃到彼此依赖，从死敌变为闺蜜，面对校园欺凌、恋人背叛、错失梦想，俩人互相安慰，乐观面对，追求各自生活的价值，度过哭哭笑笑的青春，互相安慰，共同成长，而现实却又要强行扳离俩个善良的女孩……

真琴是一个天真烂漫的高中生，一次，她被大学生阿清从一个绅士的纠缠中“解救”出来。后来，两人你来我往，发生了关系。他俩尝到了甜头，便合伙去勾引中年男子，设圈套套钱。她的行为被姐姐由纪发现了，并训斥了她一顿。真琴一怒之下和阿清同居了。由纪年轻时和秋本恋爱过，但不久被贪图安逸的秋本所抛弃。一天，由纪去秋本的诊所看病，得知秋本刚为真琴做了流产手术。在这之前，阿清为真琴做流产手术的费用，还想搞个美人局的圈套。真琴不愿意，两人大吵一架。之后，真琴又去找以前那个绅士，阿清也去找以前的情人。后来，阿清又去威胁绅士赔偿损失，让绅士反咬一口，被关进了拘留所。阿清靠阔夫人出钱，得到释放。出狱之后，阿清感到自己软弱无力，与真琴告别，途中被美人局事件连累的流浪汉打死。真琴得知阿清已死，更加自暴自弃。她又重蹈覆辙，最后，从飞驰的车上跳下身亡。

真琴（桑野美雪 饰）是个叛逆的女高中生，一次搭便车时她险被车主非礼，幸好被路过的藤井清（川津祐介 饰）救下。次日二人再次相遇，相约到水边游玩，然而阿清却粗暴对待真琴并企图强暴她。事后真琴并没有迁怒于阿清，还给他留下了联系方式。阿清却迟迟没有联系真琴，因为他与一个有夫之妇有染。伤心的真琴在酒吧里借酒消愁，遭到几个小混混骚扰。阿清赶来救下真琴，于是二人再度和好，并决定同居。因为把钱都给了小混混，阿清交不起学费，他便决定和真琴联手，敲诈那些愿意搭载真琴的中年男人，二人屡屡得手。不久后真琴怀孕，阿清执意要她去堕胎。为了筹钱，阿清只好又和有夫之妇上床，另一方面，郁郁寡欢的真琴和另一个男人发生关系。这对恋人都不知道，会有怎么样的命运等着他们。

一群中国留学生穿梭于波士顿的各个地方，游走在市中心与郊区之间。我们不知道他们的具体关系，只知道他们生活的局部，和他们身处的地方。我们看见他们在街道上漫游，或在原地思考些什么。一场偶遇，聚会，别离仿佛即将发生在他们身上，但又因为他们的出画而戛然而止。尽管生活慢慢步入正轨，但仍有一种暗流隐藏在凝滞的日常碎片之中。

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.