:18c.mic北北北砂禁慢天堂新

原案以在历史上，搬家七次（更换领地）的大名 松平直矩为原型，星野源 饰演 姫路藩书库番 片桐春之介，故事将描述姫路藩藩士为大名解决参勤交待、搬家难题 所展现的智慧与苦乐。

セノーテはメキシコのユカタン半島に点在する洞窟泉。マヤ文明の時代、雨乞い儀式で生けにえが捧げられた神聖な場所。小田監督は自分で水中撮影を敢行する一方で周辺住民を取材し、マヤにルーツを持つ人々の集団的記憶と原風景の映像化に挑んだ。

当一个人的身体里住个极端的灵魂，到底会造成怎样的结果？马宥心（卫诗雅-饰）自小得不到父母的关爱，她在上班的制衣工厂里受尽其他工友欺凌却不敢反抗，又常感到有一个束著“孖辨”的小女孩跟着她。母亲（吴浣仪-饰）更对此表现得非常敏感，让宥心觉得“孖辨”就是意外流产的弟弟替身。正当疑云重重之际，宥心重遇阳光开朗的儿时玩伴沈旭（林德信-饰）, 慢慢从他身上学会捍卫自己，偷偷向“孖辨”许愿希望它帮助杀死伤害她的人。没多久，沈旭在大屋的天台发现失踪多时的马父（吴耀汉-饰）尸体；同时，欺凌宥心的工厂女工又遭遇不测…

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.)