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？

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。

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。

一场意外，小可怜苏沁与京都首富顾北琛共度一晚，一夜过后，她怀上身孕，却被养父母逼嫁他人换取彩礼，苏沁千辛万苦逃出虎口，却误打误撞嫁入顾家！两人对面不相识，她不知道他就是她的新婚老公！他不知道他喜欢的小孕妇就是他的新婚小妻子！

京城顶流世家霍家继承人霍北辰，多年来为了寻找当年救过自己的女孩女孩给了霍北辰一半玉佩，自己留了一半，一直到处寻找。在得到那女孩在桐城的消息后，就低调赶来桐城。与此同时，姜楚汐被未婚夫陆子林和亲姐姐姜浅浅背叛，姜楚汐讨要说法，却被父母指责，赶出家门，恰好露出那一半玉佩。姜楚汐决定报复渣男贱女，听闺蜜林繁玥说陆子林有个小舅舅，就决定跟霍北辰闪婚，当陆子林的小舅妈！

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。