巴黎深秋的一个清晨，22岁贵族出身的拉法埃尔·瓦朗坦在赌桌上输光了身上的最后一枚金币后，准备投进塞纳河自尽。但这位才华横溢的年轻侯爵并没有成功。他希望几个月前努力在写的一本论意志的书会给他带来名利双收，结果却仍是身无分文。当瓦朗坦经过一家古董店时，他想得到一把枪来结束自己的生命。然而，古怪的盲古董商却给了他一张印有天竺文字的驴皮。这张驴皮能为主人实现任何的愿望，但愿望一经实现，驴皮会立刻缩小，主人的寿命也随之缩短。瓦朗坦开始从掳获金钱的快感，去填壑无尽的欲望，另一方面象征他的生命的驴皮也逐步的缩小，将他带往死亡。当成为百万富翁的瓦朗坦终于有了自己心仪的女人时，这位把灵魂出卖给魔鬼的浪荡子猛然惊觉，死神已临近身旁，只能眼睁睁地看着自己的末日来临。

巴黎深秋的一个清晨，22岁贵族出身的拉法埃尔·瓦朗坦在赌桌上输光了身上的最后一枚金币后，准备投进塞纳河自尽。但这位才华横溢的年轻侯爵并没有成功。他希望几个月前努力在写的一本论意志的书会给他带来名利双收，结果却仍是身无分文。当瓦朗坦经过一家古董店时，他想得到一把枪来结束自己的生命。然而，古怪的盲古董商却给了他一张印有天竺文字的驴皮。这张驴皮能为主人实现任何的愿望，但愿望一经实现，驴皮会立刻缩小，主人的寿命也随之缩短。瓦朗坦开始从掳获金钱的快感，去填壑无尽的欲望，另一方面象征他的生命的驴皮也逐步的缩小，将他带往死亡。当成为百万富翁的瓦朗坦终于有了自己心仪的女人时，这位把灵魂出卖给魔鬼的浪荡子猛然惊觉，死神已临近身旁，只能眼睁睁地看着自己的末日来临。

Leo 偶然在派对上撞见离婚了的父亲正在亲吻他的男朋友，他该如何鼓励老爸勇敢做自己？

Leo 偶然在派对上撞见离婚了的父亲正在亲吻他的男朋友，他该如何鼓励老爸勇敢做自己？

《派对之王》是全网首档大场景零距离明星派对综艺秀，在一座灯光闪烁的Big House，一位自嗨型主持人，一支高逼格现场乐队，数十位派达人……当红明星嘉宾，需要通过派对中各个区域派对达人的挑战，并和主持人完成节目经典的卡牌游戏，在整场Party中带领大家一起high，创造笑料与热点！

《派对之王》是全网首档大场景零距离明星派对综艺秀，在一座灯光闪烁的Big House，一位自嗨型主持人，一支高逼格现场乐队，数十位派达人……当红明星嘉宾，需要通过派对中各个区域派对达人的挑战，并和主持人完成节目经典的卡牌游戏，在整场Party中带领大家一起high，创造笑料与热点！

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

High school senior Will Oberlain sneaks into Salt Lake City's only gay bar with a bad fake ID. When the cute bartender invites Will to a clandestine party, a emotionally surprising road trip begins.

High school senior Will Oberlain sneaks into Salt Lake City's only gay bar with a bad fake ID. When the cute bartender invites Will to a clandestine party, a emotionally surprising road trip begins.