偷窥欲

盖伊（杰弗里·亨特 Jeffrey Hunter 饰）在很小的时候就失去了双亲，孤苦伶仃的他被一个美日混合的家庭收养了，就这样，他拥有了两个拥有美国血统的哥哥。在这样的环境中长大的盖伊，同时精通日语和英语。战争爆发了，盖伊的父母因为他们的血统原因被送进了国际收容所，而他的两个哥哥则作为美国公民参了军，被派往欧洲作战。盖伊因为日语好，被美国海军陆战队招为翻译。美军发动了攻打被日军占领的塞班岛的战役，盖伊也随军出征，眼看着周围的好友们一个又一个的倒在了炮火之中，盖伊感到非常的痛心。他向上级申请，希望上级能够派自己去日军处劝降，避免不必要的伤亡。

夜，静谧的沙漠之中，盲人女孩Rena和导盲犬收到了来自未来的陌生电话，导盲犬引导着Rena看到了她想象之中的未来城市景观。

过去几年控制局在全国范围内调查违反已知自然规律的事物，暗中保护人类世界。某晚，两名控制局特工正一如往常地坐在车内观察⽬标物，本该注意电线杆上的「乱丢垃圾神明在看」广告牌，却因学弟的一时疏忽将眼神挪开，导致⽬标逃离，注定了两位特工今晚的命运将与众不同。

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.)