自幼跟随师傅严崇礼修习方术的混元山方士张文才，一直跟随师傅在人间除妖降魔，一日，张文才在皇宫中给国王表演方术时，偶然中发现了有小妖在皇宫内作祟，原来皇宫内时常有人被小妖附体为非作歹，国师级方士陆离作为国师首当其冲与黑袍白袍做法降妖，打斗中险些被小妖附身的张文才慌忙逃走中被发现，被官府抓获，在押送途中，严崇礼的女儿严焯燕救下张文才，两人回去告诉了师傅严崇礼有妖，严崇礼将妖的事告诉了张文才……

自幼跟随师傅严崇礼修习方术的混元山方士张文才，一直跟随师傅在人间除妖降魔，一日，张文才在皇宫中给国王表演方术时，偶然中发现了有小妖在皇宫内作祟…

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？

片名： 魔體怪譚 　　製片： 劉立祖 　　導演： 羅熾 　　編劇： 呂繼尚, 李庸民 　　攝影： 廖萬文 　　剪輯： 趙雄成 　　音樂： 王世立 　　演員： 李立群, 慕思成, 應采靈, 藍毓莉 　　出品公司： 金世紀影片公司 　　發行公司： 台榮有限公司 　　出品年： 1982 　　國別： 不明 　　片長： 2356

片名： 魔體怪譚 　　製片： 劉立祖 　　導演： 羅熾 　　編劇： 呂繼尚, 李庸民 　　攝影： 廖萬文 　　剪輯： 趙雄成 　　音樂： 王世立 　　演員： 李立群, 慕思成, 應采靈, 藍毓莉 　　出品公司： 金世紀影片公司 　　發行公司： 台榮有限公司 　　出品年： 1982 　　國別： 不明 　　片長： 2356

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

老邓 （吕中饰）在青年时代响应国家号召到贵阳支援建设。回到北京后，老邓与两个儿子回归平淡生活。然而一系列意外出现的人和事打破了老邓一家的平静：家中时不时响起的沉默来电，屡次“碰巧”遇见、让老邓感到似曾相识的陌生少年，小区里发生难解的谋杀悬案，似乎将有一场翻云覆雨的风暴正向老邓和她的家人们袭来。老邓串起眼前发生的一系列离奇事件，在贵阳的记忆逐渐在她眼前浮现。为了寻找答案，也为了当年的遗憾，她踏上了去贵阳的旅程，而在那里，另一重意外也在等待着她 。