讲述了一个心地善良一心想要维护世界和平的小捉妖师张楚源瞒着师傅下山历练遇见偏执捉妖师太仓，经历了和小狗妖的感情纠葛，最后封印心魔拯救世界的故事。

暹罗象族公主，因父亲被大祭司蛊惑而落难花月楼，大祭司暗中追杀公主的同时，带着假公主前来和亲，假公主在我境内神秘失踪，多方势力被卷入其中。洪熙官为母复仇斩杀朝廷命官入狱。洪熙官误以为大仇得报，却被沄亲王告知当年屠村真凶另有其人，父母之仇未了，如今“魔道象人”横行，洪熙官该如何抉择？能否在复仇与拯救间达成平衡？一场生死较量即将展开……

暹罗象族公主，因父亲被大祭司蛊惑而落难花月楼，大祭司暗中追杀公主的同时，带着假公主前来和亲，假公主在我境内神秘失踪，多方势力被卷入其中。洪熙官为母复仇斩杀朝廷命官入狱。洪熙官误以为大仇得报，却被沄亲王告知当年屠村真凶另有其人，父母之仇未了，如今“魔道象人”横行，洪熙官该如何抉择？能否在复仇与拯救间达成平衡？一场生死较量即将展开……

讲述了一个心地善良一心想要维护世界和平的小捉妖师张楚源瞒着师傅下山历练遇见偏执捉妖师太仓，经历了和小狗妖的感情纠葛，最后封印心魔拯救世界的故事。

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.