2010年年底，一位在家乡工作的高中同学突然给我打来电话，说他正在北京出公差。于是，12年未曾谋面的他和我在首都北京重逢了。 见面后，才知道他现在官至家乡某乡的副乡长，此次来京执行一项特殊的任务。不过他似乎对自己的工作并无多大兴趣，而正好借此机会走朋访友，观光购物。最让他觉得不虚此行的，是逮住一次机会进了一趟某个著名而神秘的大院，尽管逗留时间短暂，但那里面的宁静和庄严让他记忆深刻。一直到了洗脚城里他还在兴奋地跟我絮叨：你知道吗？有一种静叫庄严。 导演阐述： 一次偶然的他乡遇故知，却没有心情把酒话桑麻。因为故乡早不是故乡，故知亦不是故知。只有祖国母亲依旧庄严淡定，仿佛这些喧哗与宁静，理想与犬儒，荒诞与现实从未曾在这片神奇的土地上纠结过。

A couple purchases an eleven-year old girl who cannot walk, with the intention of using her to earn money through begging.

4 years after Oxhide (2005), director Liu Jiayin and her parents reprise their roles for one night as they make and enjoy dumplings.

Director Liu Jiayin casts her parents and herself as fictionalized members of a Beijing family that has fallen on hard times and ekes out an existence by making bags out of oxhide for sale.

叶子（马頔 饰）是一个80后的摇滚青年，整天过着纸醉金迷、醉生梦死的日子，他每天放荡形骇，却不愿与正常人为伍，他认为常人过于庸俗物质。他唯一的生活来源是跟纪录片爰好者王小师（王佳杰 饰）在剧组干剧务，干点搬搬扛扛的粗活，领取一点微薄的酬金，闲暇时间则与医生大钊（张硕 饰）、民工申夜（宋冬野 饰）在一起厮混。有次酒后断片，他结识了白富美王紫菲（肖珊 饰），缠缅一阵后很觉无聊，感觉这并不是他想要的生活...... 本片改编自小说《那些人五人六的日子》。

1人到中年的口口卡（作者本人），喜欢说自己喜欢和年轻人在一起，但事实上他才不愿意给年轻人镜头呢，他心里说：再来的时候我拿棍子打你出去，调侃时会说别人的摄像机只是一个玩的东西；更多时候谈及的是自己的回忆，他号召所有人脱下自己的裤子，当然这只是一个嚼头；只有他被激怒了他才会批判别人，不然以和为贵吧还是，他信誓旦旦地说，我年轻的时候也想找老虎打打！！！ an middle aged person(the writer) like to say being with youth. but infact he doesnt want to camera to youth, he thought: I would beat you if you come again. when people's chatting, camera is just a toy for fun, more for record memory, he ask people to take off pains of course just a joke, only he was anger he would criticize others, or being peacefully.he said frankly: I want to beat tiger when I was young. 2剧情简介： 有位老师和我说：他喜欢疯狂的纪录片，那么我觉得不错，我来拍你试试。 我把镜头对准了刚刚获奖的几位纪录片导演，我尝试表达相反的意见“你的纪录片不好！”那么他们有什么反应呢？ 纪录片作者总是把镜头对准别人，那么我来试一试把镜头对准他们自己，果然他们不喜欢。 我仿佛看到了我脆弱而又单纯的雄性老年，但愿能以此片随时警醒我自己。 導演闡述： A拍摄者只有有被拍摄的经历才能了解摄像机的残酷力量 所以对于拍摄者，被拍摄是第一课 B幻觉无处不在，藏在各处，艺术就是这种幻觉， 当我们明白赞美比批评更容易让孩子进步这个规则时，我们已经变老、我们泛滥地利用这个法则， 你藏匿在你的中年朋友中、互相赞美，形成幻觉，不如说你也就此生活在幻觉中颁奖时刻、演讲时刻、掌声、做爱、愤怒、严肃而紧张，批判的不真实、名声、荣誉、财富造成了大量幻觉， 我们藏匿在其中，不如说你也就此生活在幻觉中 让我带你们去有深度的地方，看看你是否迷失在有幻觉的深度上，还是根本就是肤浅的人。 C本片是在拍摄完成后才计划制作的，之前没有任何计划 Director’s Statement: 1shooters know the cruet strenth of camera, only through being shooted. so to shooters, being shooted is their first lesson. 2illusion in every where, art is that kind of illusion. when we understood a principle that praise kids is better than critisize them for improving. we were getting old, we abuse this . you hide in middle age friends, praise to each other and illusion come into being. so why should say we are living in illusion. illusion of time of reward, time of speech, applaud, having sex, anger, tension, untrue criticize, fame, honor, fortune,we are in it, why cant say you are in it too.let me take you to a place, to see whether you lose your illusion or not, or you are just boring person 3no scripture before shooting.

2010年11月，由台北市文化局和台北电影委员会举办的首届两岸三地纪录片导演交流展在台北举行，作为影展的一个重要环节，每位参展导演在影展期间需独立完成10分钟有关台北这座城市的纪录短片，最后形成“台北印象”纪录系列。 大陆独立纪录片导演张赞波完成的《得和路243巷28弄3號》，通过对刚刚辞世的外祖父在台北的旧址的一次寻访，完成了对被阻隔的亲情的一次深情凝视和缅怀。短短的十分钟，导演冷静地从个人的记忆和经验出发，最后以小见大、抽丝剥茧般牵扯出了整个时代的疼痛和历史的悲剧，看了让人动容。 Stared by Taipei Cultural Bureau and Taipei Film Commission, the first Cross-Strait Documentary Festival was held in Taipei November, 2010. As an important part of the festival, each director is commissioned to make a ten-minute documentary about Taipei for the project ‘Taipei Impressions’. In My Grandfather’s Address in Taipei, mainland director Zhang Zanbo visited his deceased grandpa’s former residence in Taipei, recalling and memorizing a family affection that has been shattered by history. Based on his personal memory and experience, the director reflected the suffering and historical tragedy in a touching way within ten minutes.

一个女性视角的情感故事。一位KTV的女服务员和一位前来唱歌消遣的男人谈起了恋爱，但从始至终，谎言，欲望，浮躁，放纵，迷茫，痛楚……都纠缠在女孩和她的男友之间。人性的明朗与幽暗、城市的温暖和冰冷也交替上演连绵不断，像女孩在KTV包间听惯了的一曲曲无比俗气却贴切人心的流行歌曲。 This is a much troubled female perspective love story. A KTV waitress is involved in a relationship with a customer who had come plainly for pleasure and relaxation. However, this relationship has been plagued from the very beginning by lies, desire, impetuosity, confusion and pain. The brightness and darkness of human nature, the warmth and coldness of the city staged themselves alternately and perpetually, just like those vulgar yet properly put pop songs the girl had grown so familiar with by working in KTV private rooms.