如何做泡菜（或如何当一个韩国人）并不是一部简单的关于如何制作泡菜的电影。这部影片将档案影像和私人影像交织在一起，以家庭为依托，通过这一参照点，过去在朝鲜战争的影像中被探索，被和解，国籍的概念被质疑和探究。成为韩国人意味着什么？成为美国人又意味着什么？当我的父母去世后，我是否会失去与韩国人的所有联系？
在与这些问题的博弈中，作品将民间故事，家庭对话和过去拼接在一起，希望用一种开放的诚实和爱来找到关于身份认同的答案。

Lu Pan and Yu Araki share home video-footage of their 90s childhoods in all their funny, celebratory, awkward and banal glory. Edited together remotely during the pandemic, the two artists discuss early home video technology, the social status of this footage in different contexts (both migrated as children), and also how these images were made and circulated. Their playful yet insightful conversation stitches the chaotic footage together and gives new life to a nostalgic form of cinema.

餐厅打工结束之后，小剧院舞台的中央，杨认真表演着；偶遇到另一个游荡的灵魂，似乎又燃起的生活的快乐，消失又不尽然消失在了布鲁克林的静谧夜晚。

'All Vows' is an English translation of 'Kol Nidre', the incantation that begins the Yom Kippur service and which pre-emptively nullifies any future vows made unintentionally. The film uses ancient archival films to depict an unknowable future, reflected through a dissolving historic document.

In 1899, a photographer at American Mutoscope & Biograph mounted his camera on the front of a trolley traveling over the Brooklyn Bridge. The three 90-foot rolls he created were edited together to complete the journey from Manhattan to Brooklyn, entitled Across the Brooklyn Bridge. As a commission by the Museum of Modern Art for the re-opening of their facility in a new design by architect Yoshio Taniguchi, Bill Morrison took this remarkable footage and recombined it with itself to form a new split-screen extrapolation.

A meditation on the human quest to transcend physicality, constructed from decaying archival footage and set to an original symphonic score.

达尼埃拉不确定接下来该做什么，也不知道该住在哪里。米娅正在完成她突然开始的硕士学位。还有另一个朋友娜塔莎也在考虑搬到维也纳，她们一起四处闲逛并交谈。

Sahar tirelessly roams the volcanic plains looking for a rare mineral until a voice upsets his research, his relationship to the world, and the Milky Way.

A group of women perform small actions following the artist's instructions that can become a simulation of a violent act. The film is part of the program Mascarilla 19 commissioned and produced by Fondazione In Between Art Film.

A terrible virus finally brings down the internet, and humans look out from the wreckage in the aftermath. Five weigh in with personal recollections: pensive, disbelieving, grieving, philosophical. We used to have movie stars and famous musicians. Now we had each other.

圣塞巴斯蒂安是一个旅游城市，其试管婴儿诊所和非本土植物每年都会吸引成千上万的游客。在与Shashi的交谈中，我开始将生育治疗活动与香蕉植物的繁殖方式联系起来。我想知道，圣塞巴斯蒂安的人们是否知道这些植物最初是如何到达那里的。谁会认为了解一种作为花园装饰的植物的起源很重要呢？而谁能想到其产物却成为了暴力、腐败和剥削的原因呢？

Eleven members of a traditional theatre troupe perform daily and live out their lives in a small playhouse in the Sichuan region of China. Their three-hour show combines various forms, from classical Chinese opera to acrobatics, and is adored by the locals. Their star actress Dandan has performed in the troupe with her mother since she was little, sharing a living space with a group of performers who share no absence of fights. Though she worries about her future, she continues to earnestly perform the heroine for her elderly audience.

电影是一部以真实家庭生活为背景的纪录片。导演董秀智以家中两位老人为主角，追溯和记录了东北小城里一个普通家庭几十年来在历史洪流中的起伏与变迁。

The city dissolves itself in the same way it was created. With each movement, its inhabitants are preparing to leave to another place, while forming the newton image.

陶渊明笔下的桃花源本是靠语言想像组织起来的理想之地，其中，“屋舍俨然” 却与方方正正的现代景观不谋而合。与桃花源相左，看似光芒万丈秩序井然的现代都市，透露着种种不安与彷徨。作者试图重构《桃花源记》的文本，将其作为反乌托邦叙事的起点，用三屏叙事作为介质，讲述一个金玉其外败 絮其中的现代都市神话，重现日常生活中的生产活动和生活情景，将都市人面对现代生活的尴尬与窘迫以移步换景的方式悄然展露。
The idea of Return to the Peach Blossom Wonderland derives from an ancient Chinese fable, Peach Blossom Spring, in which Tao Yuanming conceives a utopia distanced from cities through the use of language. Interestingly, a description in the text, “neatly arranged residences (屋舍俨然)", could also be applied to the city landscape we find nowadays in China. These modern landscapes, which appear to be radiant and orderly, are at odds with wonderland in peach blossom spring and full of worries and uncertainties. In the process of urban development with the theme of pursuing efficiency, the worship of rationality makes us fall into the grand narrative of modernity. On the other hand, if the habitual stable routine is broken, we could easily to lose our place in society. While being an ideal machine, modern society is also the ground for collective fantasy and one-sided reality of a utopia.
The directors attempt to reconstruct what is described in Peach Blossom Spring. Through the use of multi-channel video as a device of narration, telling a modern myth with daily scenarios of both production and mundanity, the distressed awkwardness of those who live a modern life is revealed.

错过与朋友的会面后，失眠的阿富汗老人Qasem在城市的夜晚中漫游，他试图去山上找当年和朋友一起见过的石头。

因为一段童年创伤，我与父亲的关系一直很疏远，而这成为了我成长过程中很困扰的事。在跟拍为女儿维权的父亲郭利的时候，我逐渐对二人同样疏离的父女关系感到好奇。在这个过程中，我不断探索，逐渐回归自己的家庭，最终鼓起勇气，对一段童年往事，提出了质询。虽然未有一个确切的结局，但拍片的过程是一个自我疗愈、自我和解的过程，也不断令自己成长。