白衣校花与大长腿之特工娇妻

　　Murayama Kaita, a Japanese painter, novelist and poet died in 1919 at the age of 22, leaving behind an impressive and time-defying body of work. In his most recent film, Sato Hisayasu offers a surreal, time-crossing, meta-layered essay on the artist, his originality and his legacy.
　　Dear Kaita Ablaze brings together a young woman Azami obsessed with Murayama's painting, a young man Saku, who can hear unusual frequencies and claims to be Murayama or his spiritual imprint and a quartet of young performers with psychic abilities. They bond over Murayama’s work which they recreate in performative dance while driving to a mysterious cave called Agartha.
　　Sato Hisayasu (The Eye's Dream, Muscle, The Bedroom), renowned for his pinku and exploration of madness and lust, returns to IFFR. Dear Kaita Ablaze is hyper-dense, obsessive and driven, effortlessly mashing surrealism with sci-fi and mysticism, layering seemingly unrelated events and encounters to bring them together in a monumental climax.
　　– kijA

　　香港萨兰托国际电影节闭幕电影
　　《奈河》是中國導演羅斌的首齣文藝片，他透過電郵訴說構建故事的來由：「用《奈河》開篇，是因我希望故事是關於『生死之間』的抉擇。中國文化中，我們都有一種共識，一旦渡過奈河，便是往生，不可能甦醒。一切對於生死的抉擇，只能在奈河邊。因此，奈河也即是生與死的關鍵節點。選擇輪迴，是因為中國傳統文化中，一切都是在因果輪迴當中的......」
　　《奈河》講述的是一家三代人的故事—遇上車禍的強強成了植物人、被送到嬰兒臨終關懷中心的棄嬰新新以及叛逆少女盈盈由城市回村後被無賴姦污。「如果仔細梳理，你會發現這三代人對於『生死』抉擇的不同態度已發生了改變，也正因如此，我們才會感覺到希望和絕望。三條線中的孩子既是上一代在選擇中『被選擇』的物件，又是自身這一代做出『選擇』的人。在下一代身上，他們會有巨大的影響。」