靈感源自葉青新詩〈蝸牛〉。高中少女宇軒對摯友佳琪的情感深厚而難以明言。面對大考在即，課後總在夜市協助哥哥擺攤的宇軒，最大的恐懼便是無法考上理想的大學，與佳琪一道前往台北，延續她們的情誼。然而，現實的殘酷卻超越她所能想像，令人心碎的考驗突如其來地降臨在她們兩人之間……。

While preparing to shut down the photo studio business that he has been running, a man (Yoon Jemoon) hears that someone named Chulsu has died. The man contacts several friends in the hope of finding to attend the funeral with him. Usu is a film in which an image of a man, sunk in depression, is printed on a screen. It is not important who Chulsu is. It looks as if the man traces back his past, but the film refuses to give any concrete explanation. Instead, it carves abstract emotions onto a refined screen. Characters are placed in the multi-layered frames and are as quiet as paintings. Leisurely paced, the film captures them as they are buried in darkness while conversations, that look absent-minded yet incisive, add vitality to the slow and contemplative rhythm. The half serious and half playful lines sound like an extended joke about loneliness. Usu is a drama that resembles a carefully staged photograph. It casts its shadow of sorrow and loneliness upon those who watch it. (SONG Kyung-won)

为拍摄一部关于哥伦布美洲探险寻宝的电影，导演塞巴斯蒂安和他的制片人科斯塔来到了玻利维亚，然而他们的剧组却被搅入了当地民众抗议水系统私有化的政治危机当中。 　　入围2010年多伦多电影节当代世界电影单元，2010年西班牙巴利亚多利德电影节开幕片。

Rivers, with their varied names and paths, flow through different lands, carrying people and memories, always leading back to a sense of home. No matter how much we try to control them, rivers find their own way, symbolizing the unstoppable flow of time and the journey to seek where we truly belong. This film explores rivers' timeless, flowing nature and their ties to memory, identity, and cultural change. Through a folktale of a princess guided back to her ancestral home by a river and floating dreams in floodwaters, through visuals of the Oder River’s history, flood archives, and everyday life, the film examines how rivers, by uniting and dividing, symbolize the uncontrollable passage of time and the blending of diverse aspirations.

塞巴斯蒂安（盖尔·加西亚·贝纳尔 饰演）是一个富有理想主义情怀的年轻导演，他与摄制组来到玻利维亚的科恰班巴，拍摄一部有关哥伦布第一次航海发现新大…

Harun Farocki utilizes a vast collection of image sequences from laboratories, archives and production facilities to explore modern weapons technology. This trilogy examines "intelligent" image processing techniques such as electronic surveillance, mapping and object recognition, in order to take a closer look at the relationship between man, machine, and modern warfare.

Harun Farocki utilizes a vast collection of image sequences from laboratories, archives and production facilities to explore modern weapons technology. This trilogy examines "intelligent" image processing techniques such as electronic surveillance, mapping and object recognition, in order to take a closer look at the relationship between man, machine, and modern warfare.

Harun Farocki utilizes a vast collection of image sequences from laboratories, archives and production facilities to explore modern weapons technology. This trilogy examines "intelligent" image processing techniques such as electronic surveillance, mapping and object recognition, in order to take a closer look at the relationship between man, machine, and modern warfare.

Shin Da-mi is devoted both to her work and home. Managing Director Pak at her company is known as a bachelor. Pak is the object of envy of all her female co-workers but he only has eyes for Da-mi. Naive Da-mi gives herself up completely to the affections of Pak thinking that marriage is not far off. But, it turns out that the supposed bachelor has a wife and son. When they show up, Pak dumps Da-mi. Filled with vengeance, Da-mi goes out with the chairman and with his help, she has her revenge on Pak.

Karel Bursík (Lukás Vaculík), as a child called Kajda, recalls his childhood spent in Prague - Zizkov. His father (Vladimír Mensík), a shoe-maker, moved there his wife and three children hoping they would escape a country poverty. He soon threw his daughter Vera (Zlata Adamovská) out of home; he did not like her relationship with a married man. The competition of Bata factory was unsurpassable for a minor craftsman Bursík and his neighbours owed him for minor services. The desperate Bursík sent Kajda to sell his mother's dresses to get money for food. In a second-hand shop, Kajda met his first love.