小燕（左诗蓓 饰）从小就失去了父母，和祖母汤秀凉（黄淑仪 饰）相依为命。一场意外让小燕不幸和祖母失散了，从此，小燕过上了居无定所的飘零生活。尽管生命中充满了艰辛，但小燕从来都没有放弃过寻找祖母的踪迹，从香港到澳门，一路上小燕吃了无数的苦，遭了无尽的罪，也遇见了许多或是善良或是邪恶的过客们，得到了他们的帮助，亦品尝到了人生的世态炎凉。 　　就在小燕苦苦追寻祖母踪迹的日子里，一个女孩（戴梦梦 饰）假扮小燕，出现在了汤秀凉的身边，她的出现给汤秀凉的生命带来了新的希望。这位假小燕究竟是何方神圣？她真正的企图又是什么呢？

小燕（左诗蓓 饰）从小就失去了父母，和祖母汤秀凉（黄淑仪 饰）相依为命。一场意外让小燕不幸和祖母失散了，从此，小燕过上了居无定所的飘零生活。尽管生命中充满了艰辛，但小燕从来都没有放弃过寻找祖母的踪迹，从香港到澳门，一路上小燕吃了无数的苦，遭了无尽的罪，也遇见了许多或是善良或是邪恶的过客们，得到了他们的帮助，亦品尝到了人生的世态炎凉。 　　就在小燕苦苦追寻祖母踪迹的日子里，一个女孩（戴梦梦 饰）假扮小燕，出现在了汤秀凉的身边，她的出现给汤秀凉的生命带来了新的希望。这位假小燕究竟是何方神圣？她真正的企图又是什么呢？

《樹大招風》歐文傑以《飄零犬》關照離散港人

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

中日混血棄子Tsubame，飄洋過海來到這個母親說很美的地方，尋回自我認同的起點，體悟到失去的反而是收穫。Tsubame 五歲起和母親分隔兩地，直到成年後仍無法釋懷為何別離，即使是溫柔的繼母也不甚了解他的心思。在父親的懇求下，他前往母親的故鄉台灣和失聯23 年的哥哥見面。在和哥哥的孩子相處過程中，他幾次回憶起童年時與母親相處的片刻，漸漸理解自己其實從未被拋下⋯⋯ 　　今村圭佑長期以攝影指導身份，與導演藤井道人合作，本片為其首部執導劇情長片，在高雄市取景，將南台灣 的烈陽與港都的粼光融成一幅幅濃烈的光景，以為早已逝去的母愛，遂隨倦燕歸巢盈滿眼眶。導演藉由無所不 在的新住民母語議題，拆解族裔的區隔; 常民生活的街頭巷尾、嘈雜的市集和靜默的墓地，似是異鄉的故鄉， 最是魔幻寫實的成長敘事。

中日混血棄子Tsubame，飄洋過海來到這個母親說很美的地方，尋回自我認同的起點，體悟到失去的反而是收穫。Tsubame 五歲起和母親分隔兩地，直到成年後仍無…

今天的阿尔及利亚：三个故事，三代人。穆拉德，一位离过婚的房地产开发商，觉得身边所有人都在逃避他。艾莎，一个年轻的女孩，在情人和未婚夫之间两难挣扎。达曼，一位神经学家，在婚礼前的一天突然被他的过去所困扰。