中国女孩夏星溪（许芳铱饰）独自来到马来西亚北部小城亚罗士打（Alor Setar)，换心因为自行车爆胎，换心她经历了三段截然不同的奇遇，先后遇到了本地女孩爱玲（黄若熙饰），三个闲汉，以及作家皮埃尔（帕斯卡尔·格雷戈里饰）。她用不同的身份向人们介绍着自己，仿佛有不可言明的秘密。而 旅程带给她的，也是始料未及的体验。本片由梅峰担任艺术指导，徐枫、周征源担任监制。本片入围第75届威尼斯国际电影节威尼斯日单元，获未来之狮（最佳处女作）奖及威尼斯日导演奖等多项提名，南特三大洲电影节“银气球奖”。
回复 :美国空军赫斯上校原来是俄亥俄州的牧师。二战中他参加美国空军。在一次轰炸纳粹德国的任务中，他不慎炸了一个孤儿院，37名德国孤儿丧生。战后，他内心内疚，不能回去继续传教，于是就重新参加美国空军，来到朝鲜战场给韩国空军训练首批战斗机驾驶员。在他的训练下，韩国空军顺利完成了一系列战斗任务。空军基地附近有一个韩国妇女在照管十几个朝鲜战争孤儿。在战火中，赫斯上校尽量保护和照顾这些孤儿。后来，他在筹款建立了一个孤儿院，让朝鲜战争孤儿有家可归，这使得他的良心得到平静。
宋岳庭
回复 :一種名叫「吻吻」的病毒突然造成肆虐全國的嚴重疫情，中標的人除了脖子上會有如同被種草莓的紅斑，更會面臨15天內死亡的絕境。病毒源於男同志的謠言開始滿天飛，令所有男同志因成為眾矢之的而更加陷入惶恐。
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.