卫昕与沈澄轩因对方出轨决裂，后意外相识并产生感情。黎芊芊爱慕沈澄轩，联合常溪寒多次设计陷害卫昕，制造绯闻、伪造受贿证据，还利用卫昕嗜赌的父亲卫理闹事，企图破坏二人关系与卫昕的记者事业。沈澄轩始终坚定维护卫昕，揭露黎芊芊与常溪寒的阴谋。过程中，众人发现父辈间的旧怨。最终，卫昕与沈澄轩收集证据，在法庭上让黎芊芊、常溪寒、陈敬山得到法律制裁。卫昕获年度风云记者，两人也收获圆满爱情。

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？

SJ-1156 怀中祈祷 　　☆德国超大尺度小说《潮湿地带》（此前已改编为电影）作者第二部限制级同名小说改编，依旧重口依旧情欲纠结，讲述钟情于性冒险的年轻女人试图成为完美的妻子、母亲和情人

SJ-1156 怀中祈祷 　　☆德国超大尺度小说《潮湿地带》（此前已改编为电影）作者第二部限制级同名小说改编，依旧重口依旧情欲纠结，讲述钟情于性冒险的年轻女人试图成为完美的妻子、母亲和情人

德国超大尺度小说《潮湿地带》（此前已改编为电影）作者第二部限制级同名小说改编，依旧重口依旧情欲纠结，讲述钟情于性冒险的年轻女人试图成为完美的妻子、母亲和情人 。

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。

玛利亚是一名年轻的护士，她崇尚自由的生活。尼尔斯是一名绝症患者，他的愿望是去瑞士，在那里进行安乐死。两个人肩并肩开始了一段奇妙的旅程……