The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间..... 　　从小缺少父爱的弟弟（toy饰演）更向往当女生，而同性的爱能弥补他缺失的父爱，但是他的世家迫使他隐藏自己的性取向。他能冲破世俗，勇敢地和男友在一起吗？

哥哥（dan饰演）很早就出家为僧，因为亲人去世再次回到自己家。然而母亲偏爱弟弟，对哥哥刻薄冷漠。于是哥哥怂恿弟弟去和男生交往，而此时弟弟正纠结女友和男友之间.....

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

Artist Hsu Che-yu (The Making of Crime Scenes, IFFR 2022) blends his digitally animated exploration of the relation between media and memory with an account of Taiwanese terrorist Yung Ru-Men, a bomb maker who idolised Japan’s suicidally-inclined United Red Army. 　　The black-and-white images, presented as still frames, are patchy and unreal, like our memories; both physical places and human figures disintegrate – an oblique and compelling testament, probing unseen acts and murky motivations. 　　 　　源自：https://iffr.com/en/iffr/2023/films/blank-photograph 　　------------- 　　This work is a cooperation with the long-time collaborator, scriptwriter Chen Wan-Yin. 　　A terrorist revisits the seashore where he practiced bomb-making and goes back to his home where he speaks a story about a suicidal scene. 　　In 2003, Yang Ru-Men placed bombs on the city of Taipei more than ten times. Yet, none of the bombs was ignited. Yang’s action was later regarded as a struggle for farmers in the same vein of anti-neoliberalism and his sentence was mitigated. A few years after he was released from jail, his brother committed suicide at home. 　　In this work, Hsu Che-Yu invites Yang Ru-Men to perform at two sites: the seashore and his house. At the seashore where he practiced bomb-making, he reenacts an operation and discusses the self-sacrifice resonance of the Japanese Red Army. In his house, he recalls a memory of a suicidal family member. The artist cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Yang Ru-Men. Hsu made a digital scan of the architectural structure of Yang Ru-Men’s house. With these digital models, the artist reconstructs the bomb maker’s personal memories virtually. 　　源自：http://www.hsucheyu.com/2022/11/blank-photograph.html

방 세 개짜리 펜션에 놀러 간 민규, 수연, 영석, 지혜, 그리고 초혜. 솔로인 초혜만 후미진 다락방에서 자고 나머지 친구들은 커플이라 좋은 방을 배정 받는다. 잔뜩 심통이 난 초혜는 다락방에서 깜빡 잠이 들고 이상할 정도로 생생한 꿈을 꾼다. 꿈속에서 그녀는 친구 수연의 애인 민규와 뜨거운 섹스를 나눈다. 다음 날, 괜한 마음에 머쓱해 하던 초혜에게 다른 친구 지혜가 같이 자자며 다락방으로 찾아온다. 그리고 잡담을 나누다 잠이든 그녀들은 민..

방 세 개짜리 펜션에 놀러 간 민규, 수연, 영석, 지혜, 그리고 초혜. 솔로인 초혜만 후미진 다락방에서 자고 나머지 친구들은 커플이라 좋은 방을 배정 받는다. 잔뜩 심통이 난 초혜는 다락방에서 깜빡 잠이 들고 이상할 정도로 생생한 꿈을 꾼다. 꿈속에서 그녀는 친구 수연의 애인 민규와 뜨거운 섹스를 나눈다. 다음 날, 괜한 마음에 머쓱해 하던 초혜에게 다른 친구 지혜가 같이 자자며 다락방으로 찾아온다. 그리고 잡담을 나누다 잠이든 그녀들은 민..

女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 　　取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。

苏瑾棠，顾氏总裁顾淮之妻，选择以实习生身份进入自家集团，证明自身实力。面对心机女同事的挑衅，她冷静应对，保持低调。身份曝光后，她凭借出色的能力和智慧赢得众人尊敬。顾淮为妻感到骄傲，两人携手共进。苏瑾棠的故事彰显女性价值，不依赖身份地位，而是凭实力赢得尊重。她激励人们勇敢追求梦想，实现自我价值。她的坚韧和智慧，成为传奇佳话，激励着更多人前行。