克里斯托弗作为乘客登上一艘停靠在欧洲前往美国东海岸（dōng hǎi àn）的货轮后，他开始逐渐怀疑自己的理智（lǐ zhì）和对时间的理解。而在克里斯托弗与船员（chuán yuán）短暂邂逅后，他便开始融入到了船上（chuán shàng）的日常生活。——華堅馮力士

佳纪和光住在乡下小村庄，两人一起长大（zhǎng dà），从小形影不离。燠热难当的艳阳。此起彼落的蝉鸣。回家路上（huí jiā lù shàng）的冰淇淋。那天，一个再完美不过的平凡夏日（xià rì），他们随口闲聊，哈哈大笑。佳纪忽然转头问光：“其实你（nǐ）不是光吧？”六个月前，光在山里走失，一星期（xīng qī）后离奇归来。这个光的容貌和言语都（dōu）与原本的光别无二致，但他体内有某种（mǒu zhǒng）不太对劲的东西在骚动。“光已经不在（zài）了，那样的话，你……”佳纪继续与那个模仿光的（de）“东西”相处，假装一切都没有改变。然而，村庄里（lǐ）却开始怪事频传。渐渐坠入某个未知的“东西（dōng xī）”……以成长为主题的恐怖故事拉开序幕。

狐🦊族女君九尾，风姿绰约，美艳绝伦，却不幸落入梅山七怪（qī guài）老大猿猴精袁洪之手。阴差阳错被姜🫚子牙所救，但被（bèi）姜🫚子牙斩断一条尾巴。走投无路的九尾在女娲娘娘（niáng niáng）的指点下附身在妲己身上，成了冀州候苏护（hòu sū hù）的女儿👧。不日纣王率军攻打冀州，妲己矜恤（jīn xù）父王，自己披挂上阵，却被纣王俘获，二人在河边（hé biān）畅谈起征战之道，妲己的见解深深的（de）折服了纣王并且爱💗上了她。当晚纣王便（biàn）向苏护求娶妲己，妲己从此成为了商朝的（de）皇后，而天下之乱也从此拉开序幕。

不苟言笑的首尔女警官李英男（裴斗娜 饰），因某件事（mǒu jiàn shì）被“流放”到一个偏远闭塞的海港小镇担任（dān rèn）为期一年的派出所所长。抵达当地的第一天，英男便（yīng nán biàn）遇见了怯懦沉默的小女孩👧孙道熙（金赛纶 饰）。道熙（dào xī）是当地唯一的青壮年朴龙河收养的孩子👶（hái zi），但是朴及其母亲却经常对道熙拳脚相向，女孩👧在校（zài xiào）期间也饱受同学的欺负。某晚，英男从醉酒（zuì jiǔ）的朴龙河手中搭救了道熙，自此之后（zhī hòu）道熙便成为了她的小跟班。之后的（de）一天，朴母死于意外，这让道熙得以（dé yǐ）暂时躲在英男的家中避难。 　　在英（yīng）男的呵护下，女孩👧的脸上展现了久违（jiǔ wéi）的笑容，然而彼时一股暧昧的气氛悄然升起（shēng qǐ），英男被迫卷入命运的漩涡之中……

A story of faith and disbelief. Of uprootedness and affiliation. What makes a boy from art school decide to leave home and live as a girl on the streets of Berlin selling her body for money? For more than ten years, photographer and filmmaker J. Jackie Baier followed transsexual Julia K. from her birthplace, Klaipeda in Lithuania, to her tough life on the streets as a hooker, outlaw and nonconformist who never signed any social contract. 　　"Julia is missing again. Yesterday I visited her in the porn cinema, in where she has crashed for the last six months. We sat in the common room of the hookers, which doubled as Julia´s bedroom; a smoky, dingy basement without any daylight, roughly the size of a prison cell, with a couch, a counter, a coffee machine and a TV, out of which some cheap television series blared at full volume. This room was what her life was limited to. She only left it when Mamsell called her for a client. I´d seen her for the very first time while she still worked at a bar in Wilmersdorf. For some time we both worked there, tempting clients with booze, offers of sex, whatever would bring in money. I soon left the business, though. The madam was simply not convinced that I was a good hooker and actually she was right - even though I learned a lot by watching Julia. Julia was soon to be out as well. She didn´t really get along in that joint. The madam had some kind of style, while Julia just had her style. It just couldn´t work. Afterwards they said that Julia was always drunk, but that can´t have been the reason, since if she had always been drunk, it probably would have worked out with the boss, who was chronically drunk herself, after all. About a year later I met Julia again. I was riding on a bus to Schöneberg, and she was at the corner of Froben-and Bülow - hustling at the strip. We drank a couple of beers at Bianca´s kiosk and she asked at some point if I wouldn´t mind taking some pictures of her again. I didn´t have my proper camera on me, just my mobile. I took some shots and once I left, promised to return. When I went back two nights later, this time with my camera, Julia had vanished. At the kiosk they said that she was dead, probably frozen to death somewhere. But then she reappeared." [J. Jackie Baier, 2006] 　　J. Jackie Baier (b. 1955 in Kiel, Germany) received an MA in Literature at the University of Essen in 1982. She worked as assistant director on films by, among others, Peter von Zahn, Michael Lentz, and Adolf Winkelmann, and made several documentaries. In 1983 she made her feature directorial debut with Die Mission - Film vom Frieden und seinem Krieg (which premiered at the Berlinale (Forum). From 1985 to 1988 she wrote and directed two television movies for ZDF, Die Splitter der Eisbombe and Frühstück für Feinde. She has directed TV series since 1995. She had a sex change in 1997; Johanna Jackie Baier was officially a woman. She started to experiment extensively with photography and has exhibited her work at national and international art fairs. In 2006, she presented a selection of photographs and a short film as part of the group show SEX WORK (Neue Gesellschaft für bildende Kunst, Berlin). In 2011 Baier´s feature-length documentary House of Shame premiered at the 61st Berlin International Film Festival. 　　2013 Julia (doc) 　　2011 House of Shame: Chantal All Night Long (doc) 　　1988 Frühstück Für Feinde 　　1984/85 Die Splitter Der Eisbombe 　　1983 Die Mission - Film vom Frieden und seinem Krieg