羅小風是一位專業健美運動員，也是一位在香港直言不諱的酷兒權利倡導者，同時還是一名博士候選人，致力於挑戰社會規範和二元分類。這部紀錄片跟隨羅小風的旅程，記錄他們在香港的經歷以及在美國開展新篇章的過程，持續為建立一個更具包容性和接受度的社會而奮鬥。作為一名性別流動者、詩人和對佛教哲學有深厚興趣的知識分子，羅小風的故事充滿了韌性和挑戰。導演尚盧．波納菲諾在亞洲生活了 15 年，為主要國際客戶製作廣告和電視節目，他運用自己的專業知識，深入探索身份認同與社會接受度的複雜性。

一位菜鳥外送員，為了些微的加成獎金，接下流傳已久的鬼訂單。硬闖山林的他，一步步掉進異世界陷阱，成為恐怖輪迴的一環⋯

与传统观光旅游不同，《随懿深度行》注重“深度”体验与探秘。主持人黎诺懿“假公济私”，借着节目带着李佳芯、刘颖璇、高海宁、黄翠如这四位“女神”好友前往马来西亚尽情游玩。诺懿根据四位女神的性格特点，量身定制专属旅游主题，在怡保、金马仑、雪邦等地开启不一样的体验。节目呈现了悠闲之旅、自然探索、享受生活、新意玩乐等不同风格的旅程，让观众了解大马的多元文化风情，同时也激发出女神们不为人知的一面。

有別於傳統觀光旅遊，《隨懿深度行》着重「深度」體驗與探秘。主持黎諾懿「公器私用」，藉節目帶同四位「女神」好友前赴馬來西亞玩餐飽，從享受過程中也能有所得着！諾懿就着李佳芯、劉穎鏇、高海寧、黃翠如的性格特質，度身訂造專屬的旅遊主題，在怡保、金馬崙、雪邦等地開展不一樣的體驗。優悠之旅、自然探索、享受生活、新意玩樂等不同風格的旅程，讓觀眾認識大馬的多元文化風情，同時也可喚起、激發出女神們的另一面。

黛安——國王最喜愛的妓女，被囚禁在「鹿園」。她只有一個願望，但這個願望並不是與國王同床共枕，而是迫切希望能逃離她的金鳥籠。某一個夜晚，在國王放下警惕的時候，她決定逃跑。

黛安——國王最喜愛的妓女，被囚禁在「鹿園」。她只有一個願望，但這個願望並不是與國王同床共枕，而是迫切希望能逃離她的金鳥籠。某一個夜晚，在國王放下警惕的時候，她決定逃跑。

中港兩代父女，分隔兩地生活，說着兩種語言，身份和人生完全對倒，本來最親密的家人卻也是最陌生的。獨居老人陳永強是觀塘公園的保安員，某天他要陪伴從內地來港的女兒子姍換領新身份證及辦理銀行開戶，二人回到老家又到永強工作的觀塘公園蹓躂，面對鴻溝欲言又止，只能如守望者般巡察觀覷，踟躕不前。夫子自道的導演以靜謐凝視的鏡頭瞻眺鱗次櫛比的香港城市建築，配以收窄又拉闊的畫框沉澱了父女間的滄海桑田。金像影帝太保再度以沉穩肅穆的演出訴盡暮年的孤寂。

Sparkling, masterful début by Kovalov is found-footage compilation of e.g. news items, propaganda material and instruction films. For his directing début, Oleg Kovalov chose a very extravagant experiment. As a basis he took a propaganda film from the fifties, The Case of Corporal Kochetkov, dissected this as it were and gave the naked structure a new substance and new accents by re-cutting the shots and adding documentary material from the fifties, such as newsreel footage of Khrushchev's visit to America and pictures of the visit by Yves Montand and Simone Signoret to Moscow. The film about corporal Kochetkov called on the Soviet citizens to be on their guard and showed how sly the enemy was: for instance it could pose as an innocent girl. Kovalov creams off the emotional froth from this melodrama, deconstructs its codes and subjects it to a thoughtful analysis. For instance he reveals paranoia and spy-phobia, complexes in the 'collective Soviet unconscious' that is still active even in relatively enlightened periods.

Sparkling, masterful début by Kovalov is found-footage compilation of e.g. news items, propaganda material and instruction films. For his directing début, Oleg Kovalov chose a very extravagant experiment. As a basis he took a propaganda film from the fifties, The Case of Corporal Kochetkov, dissected this as it were and gave the naked structure a new substance and new accents by re-cutting the shots and adding documentary material from the fifties, such as newsreel footage of Khrushchev's visit to America and pictures of the visit by Yves Montand and Simone Signoret to Moscow. The film about corporal Kochetkov called on the Soviet citizens to be on their guard and showed how sly the enemy was: for instance it could pose as an innocent girl. Kovalov creams off the emotional froth from this melodrama, deconstructs its codes and subjects it to a thoughtful analysis. For instance he reveals paranoia and spy-phobia, complexes in the 'collective Soviet unconscious' that is still active even in relatively enlightened periods.