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？

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。

山村青年小军和嫂子绣儿在猴山打猎误入禁地“老林子”，撞见一个神秘人影。小军带着绣儿仓皇逃回家。母亲告诉他们关于“食人猴”吃人的恐怖传说，而父亲反应激烈严禁他再入猴山禁地，并匆忙出门去找队长。小军不信传言，认为家人的恐惧都是封建迷信。但紧接着，一个能模仿他父亲声音的“东西”在深夜敲门，甚至伸出非人的手指试图开锁，全家陷入恐惧。

本片获得第74届威尼斯电影节地平线单元奖评审团特别奖。 　　本片为纪录片，主人公为臭名昭著的食人魔佐川一政。影片并没有将还原案件当做主题，而是以年迈的佐川一政与弟弟的对话，来更深层次的探究其心理状态。

本片获得第74届威尼斯电影节地平线单元奖评审团特别奖。 　　本片为纪录片，主人公为臭名昭著的食人魔佐川一政。影片并没有将还原案件当做主题，而是以年迈的佐川一政与弟弟的对话，来更深层次的探究其心理状态。

某日，中国东海最深处显现出了一个与世隔绝的美丽小岛。渐渐地开始有好奇者登岛，凯迪的好姐妹也在半个月前随着“驴友”决定探险。一周之前，一个看似寻常却又诡异的微信邀请将凯迪、青云、Rocky、米娅、波仔聚在一起，在船老大的带领下来到风景宜人的东临岛。五人一行看似顺风顺水，却不知危险已悄然降临。空无一人的海岛、太阳西升东落、茂密的爬行绿藤、滴着粘液堆着白骨的“山洞”、冒着仙气却能蚀骨的碧潭以及波仔的离奇死去，一切现象令人匪夷所思。“神秘人”的突然出现及忠告把他们彻底推向了近乎疯狂的恐惧之中，但众人已陷入一个无法退出的“死亡岛屿”。这个岛究竟从何而来，“神秘人”究竟是谁？凯迪和青云又是否能安全离开，随着真相的层层推进一切都令人更加毛骨悚然。

故事讲述了，某日，中国东海最深处显现出了一个与世隔绝的美丽小岛。渐渐地开始有好奇者登岛，凯迪的好姐妹也在半个月前随着“驴友”决定探险。一周…