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纪录片《关爱之家》简介：《关爱之家》起因于《中国经济时报》首席记者王克勤的长篇报道《邢台艾滋病真相调查》，影片记录了河北邢台农村妇女刘显红打官司的故事。她因在医院输血感染艾滋病毒，决定公开身份、起诉医院，历经艰险终于获取赔偿。以她的经历为主要线索，影片通过几个家庭的遭遇和感染者成立“关爱”小组集体维权的努力，呈现出在基层农村涌动的公民权利意识。尽管追求法治的路困难重重，但由于社会关怀、媒体介入和法律援助，政府也转变了态度，并出台了改善感染者处境的政策。在通往社会公正的道路上，《关爱之家》呈现了爱与社会改变的可能性。Care and LoveThe high profile success of The Blood of Yingzhou District—winner of Oscar's Best Documentary this year—has encouraged worldwide attention on the HIV/AIDS epidemic in China. Almost at same time, two works on the subject have spreaded among the HIV/Aids activists and NGOs in China, The Central Plains (2006), and Care and Love(2007), directed by Ai Xiaoming, a professor from Sun Yat-sen University, and filmed by herself and Hu Jie.Care and Love draws its inspiration from 'Investigation of HIV/AIDS in Xingtai', a feature article written by Wang Keqin, a senior journalist at China Economic Times, which tells the story of Liu Xianhong, a woman villager who contracted HIV through a blood transfusion during childbirth. The film documents how she publicized her story, filed a lawsuit with her 8-year-old son against the local hospital and eventually received compensation. The film also records the sufferings of several families and a collective effort to defend their own rights by people living with HIV/AIDS, who set up an organization, 'Care and Love Group'. The film reveals an increasing awareness of civil rights in rural areas. Growing social concern, media intervention and legal aid have forced the local government to compromise and modify their policy, and improve the situation for AIDS patients. Care and Love thus shows the possibility for social change on the way to social justice.

拓人（佐藤健 饰）在大学时代参加了话剧社团，一心想要在舞台上做出一番建树。然而毕业后，他和大部分应届生一样，放弃了表演，穿上西装打上领带，奔赴在各大公司的面试会场之间。瑞月（有村架纯 饰）和光太郎（菅田将晖 饰）是拓人的同窗兼好友，两人曾是一对恋人后来分手，而如今的拓人依旧默默的爱慕着瑞月。瑞月的肩上背负着赡养家庭的重担，因此在找工作上格外拼命，而光太郎曾是乐队的主唱，过惯了自由散漫的生活的他如今亦加入了求职的队伍之中。巨大的压力，无数的竞争者，稀少的内定名额，眼看着瑞月和光太郎等人一个接着一个的拿到了名额，拓人的内心渐渐产生了微妙的扭曲。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

讲述一个弱智的小伙子，他是健身中心的拖把清洁工，某天，他被玩弄，成了大众群体中的取乐笑柄，他不小心从楼上的玻璃窗摔了下来，意外地跌入了某种化学工业用途的废水里，身体受到了严重辐射创伤，基因突变~ 成了半兽怪人，他决定要复仇，向社会恶势力宣战…