年轻的俄罗斯女人Tania和她13岁的儿子非法居住比利时。直到有一天她被警方逮捕关进了拘留中心，从此她与儿子天各一方。为了与儿子重逢，就算要面对暴力驱逐甚至进监狱，她也不惜一切代价抗争到底。

雄心勃勃的D.A. Victor Scott积极的起诉Ed Clary谋杀妇女。但是当Clary从“最后一里路”走向电椅的时候，Scott收到了证明被指控者无罪的证据。当他知道自己犯了个大错误的时候，他试图阻止死刑执行，但是一切都太晚了。由于这次严重的误判，Scott辞去了检察官的职务。进入私人活动后，他通过使他出名的同样的狡诈行为引起了暴徒首领Frank Garland的注意。这个匪徒成功的向Scott行贿使他成为他的谋杀讨论的成员，Scott在法庭的成功表演使他打赢了官司。但是不久Scott发现自己卷入了肮脏的匪徒政治。当他从前 在D.A.办公室的被保护人由于把暴徒Garland的事情告密，而被指控谋杀的时候情况变得无法容忍了。Victor能打败他暗恋的女人同时保住自己的命么？

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？

根据真实案件改编，创建国以来涉案金额之最，涉杂官员之广为中国审计第一大案。 拍卖行行长畏罪自杀，知情者接连神秘失踪，幕后黑手辗转数省疯狂洗钱。警方出动欲擒故纵，万恶之地紧急围捕，无形巨网层层缠绕，牵一发，万劫不复。

根据真实案件改编，创建国以来涉案金额之最，涉杂官员之广为中国审计第一大案。 拍卖行行长畏罪自杀，知情者接连神秘失踪，幕后黑手辗转数省疯狂洗钱。警方出动欲擒故纵，万恶之地紧急围捕，无形巨网层层缠绕，牵一发，万劫不复。

珍尼和德拉根在巴黎一间书店相遇。珍尼在那里工作，而德拉根则在找一本关于意大利画家罗塞蒂的书。两人一见钟情就擦出爱火花，但是德拉根并没有告诉珍尼他是个非法偷渡者……

犯罪题材电视剧，剧中一名侦探必须与腐败的体制作斗争，才能将一名暴力歹徒绳之以法。当一个诚实的警察队长试图在高层与强大的盟友锁定一名暴徒时，他面临着似乎无法克服的困难。他与暴徒进行了一场致命的斗智斗勇，并与警队内部的腐败进行了更大的斗争。

珍尼和德拉根在巴黎一间书店相遇。珍尼在那里工作，而德拉根则在找一本关于意大利画家罗塞蒂的书。两人一见钟情就擦出爱火花，但是德拉根并没有告诉珍尼他是个非法偷渡者……