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。

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)

微笑着的胖女人，空无一人的餐厅，只有一只嗡嗡作响的苍蝇满屋乱飞。她开门吹起口哨，一个拖着玩具汽车的小男孩进屋就餐。口哨声仿佛指令一般，催促着监视着小男孩赶快吃饭。时间马上就要到九点了。可是在小男孩眼中，这却是如同蹲监狱一般痛苦难熬。他把胖女人想象成看守人，餐厅就是冰冷灰暗的囚室。还差几分钟就是九点了。男孩只好吃起了饭。一个意想不到的发现改变了这一切——粥碗下是条深不可测的通道，他终于可以逃出这座监狱了。终于，他逃出了这座暗无天日的监狱。九点整，也许事实并非如此。 本部水彩手绘动画短片，以极其简单的人物形象跟故事情节，道出了一个深刻的生活无奈：也许终其一生，不过是在他者的监视和控制下求得生存吧。

一位家暴幸存者精心策划了一个缜密的骗局，想要保护她的家人免受她有权有势的丈夫及其仇敌的伤害。

When Johnny Matlock whisks away a cold war secret from under the noses of Berlin's top secret agents, his every move is followed when he returns to England. His girlfriend Paula is kidnapped but her handbag is discovered at the scene of the crime by the aristocratic private eye, Duke Martin. Inside it he discovers the secret formula that the agents are searching for and tracks down her sister Paula. As Johnny grows frantic for the safe return of his girlfriend, Duke Martin plays a deadly game of double bluff with the enemy agents.

一名伊朗乡村女孩克服重重困难，获得了去加拿大学习并追逐梦想的奖学金。然而，随着针对伊朗的历史性制裁以及经济压力的到来，她的梦想化为泡影。这部电影在加拿大温哥华拍摄，而制裁事件至今仍是全球头条新闻，紧张局势已达到顶峰。

由基音工作室出品、周振南导演的同志公益微电影《逃离》正式上线，讲述上世纪九十年代末期，同性恋者被社会严重歧视，为了躲避世人的鄙夷目光，他们在荒芜之地“生物岛”聚集，寻找真正属于自己的快乐，从而发生许多开心或悲伤的故事，包括晓晨和志鹏刚刚开始的一段恋情。

Cédric Dupuis, a fledgling independent filmmaker, has set out to make the most terrifying horror film of all time. But shooting without any budget to speak of and a cast of his friends, Cédric soon realizes the frustration of indie film-making. The only way for Cédric to get the realism he wants is to actually murder his cast on camera. This is his documentary of the events that unfolded during the making of his opus. One of the most disturbing films of recent years with a sickening dose jet-black humor.

影片《逃离》讲述的是一名跨性别高中生对自我性别的探索。所谓的“跨性别者”（transgender）指的是心理性别与生理性别不一致、不认同自己生理性别的人。影片主人公张望安是一位高中男生，但心里总是觉得自己应该是女生，而且他只敢在家长不在家的时候穿裙子、化妆、涂指甲油。 剧情梗概是，高中男生成泽热心善良，曾在主人公张望安小时候被同学们嘲笑“娘”时出手相助，长大后因为一次打赌，他在微信上假扮女孩与张望安假扮的女生“安琪”成为好友。然而成泽真实身份的暴露和女孩叶梓琪的爱慕，让张望安陷入了两难的境地。同班同学顾筠将一切看在眼里，她希望能帮助张望安认清自我，鼓励他做最真实的自己。经过探索路上的挣扎，张望安最终认识到自己是一位跨性别者，喜欢男性。