BISFF2025｜International Competition 国际竞赛

Becoming-With Images

We live within images—images that have become our “second nature,” shaping the environment of our existence and defining the ways in which modern individuals think and dwell. This observation is hardly novel. Yet the saturation of images that envelops us has long numbed our senses and left us impoverished in perception, revealing a strange and fragile condition of existence itself. As beings situated within specific historical and contextual circumstances, how might we comprehend and respond to this uncanny universe of images into which we have been thrown? How might we inhabit and make meaning within the dense entanglements that constitute our world?

We Had Fun Yesterday (2024) begins precisely from such a question. In her work, Marion Guillard connects her fascination with the “natural” image to the contradictions of being a woman under the gaze, adopting a de-anthropocentric perspective to examine the entangled condition of humans and nonhumans within the mechanisms of image production. Non-Player Character (2025) pursues a similar inquiry within a more contemporary virtual environment: in the filmmaker’s gaze upon the figures and worlds that populate a game engine, the boundary between virtual beings and the self-awareness of the “player” grow increasingly indistinct. This ambiguity, this shared vulnerability, evokes an affective mechanism shaped by the heterogeneous images of computational worlds.

If we extend this examination of visual modes toward an ontological dimension—treating images as a medium of living through which we perceive our lived experience—we might recognize that “living” images capture not only gestures and movements, but also their potentiality and incompletion. They reveal a liminal space between visibility and invisibility within life itself. Rotating Signals (2025) weaves fragments of fleeting impressions caught in transient spaces; these momentary thoughts may not point to explicit meanings, yet their tactile yearning conveys an embodied sense of situatedness. Margins (2025) assembles fragments of family archival footage, adopting the position of a listener who dialogues with invisible narrators. The unuttered texts invite each viewer to silently read them in their own accents and intonations, transforming experiences of grief into a prism through which language and emotion refract and fracture. The image thus becomes a vessel for memory and affect. In Hold My Hand (2025), such affective sharing and care take the form of embodied practice—everyday practices and gestures of touch, companionship, nourishment, and caregiving unfold in relation to their historical moment, expanding individual experiences into collective and communal realms.

When personal histories become embedded within broader temporal and geographic dimensions, images and their localities may be understood as media that render the past visible—a testimony to existence itself. In Epitaph (2025), Cecilia Araneda returns to her long-estranged homeland, eco-processing 16mm film with leaves and fruit gathered around her ancestral home. The flickering, scratched celluloid of its decaying house becomes a medium of invocation, a spectral device that conjures memory. Together with archival and found materials, it weaves a lament for her family’s past and the vanishing landscapes of home. The Legend of Tibrogargan (2025) and Riverlands (2025) approach human and nonhuman entanglements from an anthropological perspective across deep time, revealing fragile ecologies and fluid identities. Through poetic speculation, they evoke a sense of togetherness—an ethics of care resonating through geological strata, continually regenerating and intertwining in the present.

Moving from these stratified connections across temporal fissures toward the contemporary possibilities of communal construction through images, Extra Life (and Decay) (2025) opens a shared perceptual field through close observation and polyphonic narration. It invites us to listen, to discern, and to reimagine—with tenderness and immeasurable complexity—how we might resist the isolation we collectively endure. In Friday Dreams (2024), a collaboration between the Harrotu Ileak group and Zine-Lab, filmmaking itself becomes an exercise in coexistence and care. The project—bringing together more than forty participants—forms an experiential community rooted in situated contexts through the act of attending, moving, listening, and sharing one another’s conditions, diverging sharply from the culture of connectivity driven by technological acceleration. This spirit of immersion and co-creation finds a meditative synthesis in Grounds, Premises (2025), which reflects upon a brief period of shared filming and creation. The film turns the act of image-making into a site of contemplation and remembrance, establishing mirrored relations between subject and object, filmmaker and viewer, as the image responds to a time lived and endured together, becoming a field of shared perception.

Martin Heidegger once used the term thrownness (Geworfenheit) to describe a fundamental structure of human existence (Dasein): a fragile, precarious condition that reminds us our actions and thoughts are inseparable from our situatedness. Donna Haraway, reinterpreting this notion through a posthumanist lens, expanded this thrown world to include a vast network of interdependent life-forms and modes of cohabitation. Seen through this framework, living within images is not a flight from reality or a symptom of visual consumption—it is a mode of being, an embodied practice of coexistence within the entangled, inescapable conditions of our time. To dwell in images, then, is to exercise care and attention: to live, vulnerably and responsively, alongside our difficulties, fragilities, and others. (HE Lin)

共在练习

我们生活在图像中——图像构成了我们生存环境的“第二自然”并成为现代人思考与存在的方式，这已不再是什么新鲜的论调，而过量图像的裹挟却早已使我们感到麻木、匮乏，呈现出一种吊诡的生存意义上的脆弱性。作为一个特定历史时刻被置于具体情境（situated）的个体，如何理解并应对我们所被抛入（thrown into）的这个怪诞的图像宇宙并使之负有意义，如何卷入各种纠缠（entanglement）并与之共在？

《昨天我们很开心》（We Had Fun Yesterday, 2024）就始于这样的发问，玛丽昂·吉亚尔（Marion Guillard）将个人对于“自然”影像再现的沉迷联系起自身作为女性对于被注视的矛盾心理，以去人类中心化的视角审视人与非人在图像生产机制中密切交缠的处境。《非角色玩家》（Non-Player Character, 2025）则在更加当代的虚拟环境之中进行了相似的审视，在创作者对游戏背景中角色及其所处的世界的凝视中，这些虚拟存在与“玩家”身份的自我感知变得愈发模糊，此种暧昧性与共享的脆弱性（shared vulnerability）召唤出游戏引擎所生产的异质图像的情动机制。

若将这种对影像机制的考察，进一步延伸到将影像视作一种生存媒介来透视我们的生活经验（lived experience）的本体论维度，我们或可发现，“活”的影像及其背后所投注的目光捕捉的不仅是纯粹的行动或姿势，更是行动的可能性与未完成性，以揭示生命的可见性与不可见性之间的阈限空间。《旋转的信号》（Rotating Signals, 2025）编织起那些在中转空间捕捉到的瞬息印象的片段，这些在时间罅隙里沉淀的思绪或许并不指向任何明晰的意义，却以对触碰的渴寻传递一种置身所在的感官经验。《余白》（Margins, 2025）撷取了家庭档案影像的碎片，以倾听者的姿态与不可见的诉说者对话，将“未被言说”（unuttered）的文本开放给每位观看者用不同的语调和口音默读，以悲伤与哀悼的经验为一面多棱镜，透射出语言与情感间的缠绕与裂隙，而影像自身则成为安放情绪与记忆的容器。而这种感性共享与关怀在《握住我的手》（Hold My Hand, 2025）则呈现为具身实践，日常生活中常见的身体触碰、陪伴、进食、照护与我们所处的时代背景相接，个体的处境与经验扩展到公共的、群体的领域。

而当个人的历史更深层地勾连、嵌入更广阔的时间与地理维度中，影像及其在地性则可被理解为让历史与过往的存在显影的媒介，成为生存的证词。《故土墓志》（Epitaph, 2025）的作者塞西莉亚·阿拉内达（Cecilia Araneda）回到远离多年的故土，以祖宅周围生长的植被叶片与果实对16毫米胶片进行生态处理，布满划痕的胶片中明灭闪烁的破败祖宅影像成为一种召唤记忆的灵媒装置，与各类档案与拾得影像等记忆的物质承载共同织就一篇对家族过往以及故土往昔的悼文。《提布罗加根的传说》（The Legend of Tibrogargan, 2025）和《河流之境》（Riverlands, 2025）则以人类学的视角关照了人与非人在深时尺度上的境况及彼此相互的依存，脆弱的生态与流动的身份议题穿插其间，于影片诗性的思辨之中揭示出一种由关怀联结起的共在（togetherness），在历史的地层中回响，并在当下持续地生成、缠绕和更迭。

从跨越时间断层的纵向联结回归到影像在当代构建共同体的可能性，《额外的生命（与衰败）》[Extra Life (and Decay), 2025] 中对事物的近距离观察与多声部叙述开辟出一片共同的感官空间，邀请我们去倾听、辨认、再想象，以不可估量的复杂性及温柔的关切抵抗我们所共同承受的孤立。“Harrotu ileak”小组与“Zine-Lab”合作完成的《周五之梦》（Friday Dreams, 2024）则是影像创作何以成为一种共处与关怀的练习和实践的例证，这项超过40位参与者合作的成果通过凝视被摄者的脸庞、捕捉身体的运动轨迹并聆听、交换个体的处境，形成了一个嵌入语境的、经验上的共同体，迥异于时下盛行的由技术发展所驱动的连接性文化。这种沉入当下的共创共享精神在《根基，立场》（Grounds, Premises, 2025）中以轻盈的基调达成了一种冥想性的综合。影片以一段对短暂的共同拍摄、创作时光的沉思与纪念，将影像的生成作为基点，形成了几重镜像的关系——拍摄的主体与被拍摄的对象，创作者与观看者，而影像本身则回应着一段共同承受、共同生活的时间，成为彼此共享的感知场。

海德格尔（Heidegger）以“被抛性”（thrownness）这一术语来描述人之存在（Dasein）的一种基本结构，意指人类境况的脆弱与摇摇欲坠，并警示着我们的行动与思考无法脱离“情境性”（situatedness），因而我们需要常常重新审视我们何以被置于此地。而唐娜·哈拉维（Donna Haraway）则以后人类主义的视角进行了重新阐释——我们所被抛入的世界还囊括了更广阔的生存关系与共处网络。在此脉络的回视与反思之下，生活在图像中并非是为了逃离现实的困顿（某种图像消费的幻觉），而是一种实在的生存方式，一种身处于充满纠缠且无法退后的现实中与困境、脆弱以及他者共处的练习。（贺琳）

check here to see full Internatinal Competition list

 Margins, Clara Becking, 2025

International Competition - 1

The Loneliness of Lizards｜A Solidão dos Lagartos｜蜥蜴的孤独

Inês Nunes 伊内斯·努内斯

2025｜0:15:28｜Portugal, Spain｜Portuguese, Spanish, French｜Asian Premiere

Frantumi｜碎片

Mattia Biondi 马蒂亚·比翁迪

2025｜0:05:30｜Italy｜Italian｜International Premiere

Rains Don’t Make Us Happy Anymore｜雨水不再带来欢愉

Yashasvi Juyal 雅沙斯维·朱亚尔

2025｜0:26:51｜India｜Hindi｜Chinese Mainland Premiere

Kafka. In Love｜恋爱中的卡夫卡

Zane Oborenko 扎内·奥博连科

2024｜0:10:11｜Latvia, Czech｜German｜Chinese Mainland Premiere

Sincero, apaixonado｜真挚，炽烈

Margaux Dauby, Raul Domingues 马尔戈·多比，劳尔·多明格斯

2025｜0:25:02｜Belgium, Portugal｜Portuguese｜Chinese Mainland Premiere

Rotating Signals｜旋转的信号

Chae Yu 柳彩晶

2025｜0:09:50｜Republic of Korea, US｜No Dialogue｜Chinese Mainland Premiere

International Competition - 2

Red Dust｜绛尘

Katja Verheul 卡特娅·费尔赫尔

2025｜0:17:09｜Netherlands, France｜French, English｜Asian Premiere

Fear and Loathing in the Laniakea Supercluster｜Bildurra ta nazka Laniakea superkumuluan｜惧与憎，纵横拉尼亚凯亚超星系团

Ioritz Makazaga 伊奥里茨·马卡扎加

2025｜0:05:05｜Spain｜Basque｜Asian Premiere

Inventory｜Inventar｜终末清单

Ivan Marković 伊万·马尔科维奇

2025｜0:21:00｜Serbia｜Serbian｜Chinese Mainland Premiere

Doubts｜Tereddütler｜疑虑

Firat Yucel 菲拉特·尤塞尔

2025｜0:11:56｜Turkey, Netherlands｜Turkish｜Asian Premiere

Thoughts on Peace in an Air Raid｜Роздуми про мир під час повітряного нальоту｜空袭中的和平之思

Vyacheslav Turyanytsya 维亚切斯拉夫·图里亚尼察

2025｜0:15:48｜Ukraine, Netherlands｜Ukrainian｜Asian Premiere

Margins｜余白

Clara Becking 克拉拉·贝金

2025｜0:23:00｜Germany｜No Dialogue｜World Premiere

International Competition - 3

Someone to Steal Horses With｜盗马共谋

Dylan Pailes-Friedman 迪伦·佩尔斯－弗里德曼

2025｜0:09:25｜US, Italy｜English｜Asian Premiere

Full Out｜全力出神

Sarah Ballard 萨拉·巴拉德

2025｜0:14:25｜US｜French｜Asian Premiere

Once in a Body｜Una vez en en cuerpo｜曾在此身

María Cristina Pérez González 玛丽亚·克里斯蒂娜·佩雷斯·冈萨雷斯

2025｜0:10:20｜Colombia, US｜Spanish｜Chinese Mainland Premiere

Immortals｜Les immortelles｜永生

Myriam Jacob-Allard 米里亚姆·雅各布－阿拉尔

2025｜0:26:40｜Canada｜French｜Asian Premiere

Latex Labyrinth｜胶林密语

Teo Wey Yinn 张蔚韵

2025｜0:12:38｜Malaysia, Singapore｜Chinese Dialect｜Chinese Mainland Premiere

Unsold Copies｜Restbestand｜余存

Stefan Koutzev 斯特凡·科采夫

2025｜0:19:42｜Germany｜German｜Asian Premiere

 Full Out, Sarah Ballard, 2025

International Competition - 4

Torn Sky｜Ciel Cassé｜破裂苍穹

Jozefien Van der Aelst 约瑟芬·范德阿尔斯特

2025｜0:21:57｜Germany｜French｜World Premiere

Hold My Hand｜握住我的手

Sophie Sherman 索菲·舍曼

2025｜0:16:57｜Belgium｜English, French｜World Premiere

Common Pear｜普通梨

Gregor Božič 格雷戈尔·博日奇

2025｜0:15:01｜Slovenia, UK｜Slovenian, English, French, Italian｜Chinese Mainland Premiere

The Library of Babel｜La Bibliothèque de Babel｜巴别图书馆

Oliver van Malderghem 奥利弗·范马尔德海姆

2025｜0:26:00｜Belgium｜French｜Asian Premiere

PLÈ｜溢

Valentin Couanon-Bertin 瓦朗坦·库阿农－贝尔坦

2025｜0:12:51｜France｜English｜Asian Premiere

International Competition - 5

Masks｜Larven｜假面

Amina Rosa Krami 阿米娜·罗莎·克拉米

2025｜0:11:40｜Germany｜German｜Asian Premiere

International Satan’s Day｜国际撒旦日

Raed Yassin 拉伊德·亚辛

2025｜0:17:18｜Lebanon｜English｜Asian Premiere

Tramuntana｜特拉蒙塔纳

Martí Madaula Esquirol 马尔蒂·马达乌拉－埃斯基罗尔

2025｜0:18:10｜US, Spain｜English｜Chinese Mainland Premiere

The Gun Felt Good in My Hand｜这枪握在手里感觉不赖

Daniel Robin 丹尼尔·罗宾

2025｜0:12:02｜US｜English｜Asian Premiere

Shawano｜肖瓦诺

Felix Bartke 费利克斯·巴特克

2025｜0:13:24｜Germany｜German｜Asian Premiere

Rezbotanik｜瑞兹植物学

Pedro Gonçalves Ribeiro 佩德罗·贡萨尔维斯·里贝罗

2025｜0:18:00｜Brazil, Portugal, Spain｜Portuguese｜Asian Premiere

International Competition - 6

Suspicions About the Hidden Realities of Air｜空气里潜藏的真相疑云

Sam Drake 萨姆·德雷克

2025｜0:09:07｜US｜English｜Asian Premiere

Radius Catastrophe｜الأرض المستباحة｜无主之地

Jad Youssef 贾德·优素福

2025｜0:39:39｜Lebanon｜No Dialogue｜Asian Premiere

I Destroy the Tools of My Captivity｜Destrozo las herramientas de mi cautiverio｜我摧毁我的囚笼

Diandra Arriaga 迪安德拉·阿里亚加

2025｜0:15:00｜Mexico｜Spanish｜Asian Premiere

A Real Christmas｜진짜 크리스마스｜真实的圣诞节

Justin Jinsoo Kim 金珍寿

2025｜0:12:02｜US, Republic of Korea｜No Dialogue｜International Premiere

Slightest Pretense｜わずかな見せかけ｜微末假象

Eri Saito 斋藤英理

2025｜0:15:10｜Japan｜No Dialogue｜Asian Premiere

Rezbotanik, Pedro Gonçalves Ribeiro, 2025

International Competition - 7

A Provenance｜溯证

Katharina Bayer 卡塔琳娜·拜尔

2025｜0:13:57｜Germany, Austria｜English｜International Premiere

Extra Life (and Decay)｜额外的生命（与衰败）

Stéphanie Lagarde 斯蒂芬妮·拉加德

2025｜0:21:35｜France, Netherlands｜French｜Chinese Mainland Premiere

A Reconnaissance｜一次侦察

Stefan Kruse 斯特凡·克鲁斯

2025｜0:28:57｜Germany, Denmark｜English｜Asian Premiere

Maria Henriqueta Was Here｜Maria Henriqueta Esteve Aqui｜玛丽亚·亨里奎塔曾在此

Nuno Pimentel 努诺·皮门特尔

2025｜0:13:45｜Portugal｜No Dialogue｜Chinese Mainland Premiere

Life with an Idiot｜La vie avec un idiot｜与愚者同居

Theodore Ushev 西奥多·乌舍夫

2025｜0:18:00｜France｜French｜Chinese Mainland Premiere

International Competition - 8

Grounds, Premises｜根基，立场

Bram Ruiter 布拉姆·勒伊特

2025｜0:14:07｜Netherlands｜English｜World Premiere

Series of Actions｜行动序列

Chanasorn Chaikitiporn 查那松·猜吉提蓬

2024｜0:37:00｜Thailand｜Thai｜Chinese Mainland Premiere

Your Tomorrow Will Be My Song｜Tu Mañana Será Mi Canto｜你的明日，我的歌谣

Fernando Saldivia Yáñez 费尔南多·萨尔迪维亚·亚涅斯

2025｜0:14:04｜Chile, US｜Spanish, Quechua｜Asian Premiere

The Shadows of the Jaguar｜Las manchas del jaguar｜美洲虎的阴影

Ricardo del Conde 里卡多·德尔孔德

2025｜0:06:00｜Spain, Mexico｜Spanish｜International Premiere

Jacob’s House｜雅各布的房子

Lucas Kane 卢卡斯·凯恩

2025｜0:20:40｜US｜English｜Asian Premiere

International Competition - 9

The Early Sun, Red as a Hunter’s Moon｜初阳红如猎月

Adam Piron 亚当·皮龙

2025｜0:13:05｜US, Portugal｜English｜Asian Premiere

Perishable Idol｜سبات النخيل｜棕榈的沉睡

Majid Al-Remaihi 马吉德·雷迈希

2025｜0:18:30｜France, Qatar, Kuwait｜Arabic｜Asian Premiere

The Water Is Dead｜L'Acqua Xe Morta｜死水

Benjamin Darville 本杰明·达维尔

2025｜0:14:43｜UK, Germany｜English｜Asian Premiere

The Legend of Tibrogargan｜提布罗加根的传说

Anna Doyle 安娜·多伊尔

2025｜0:11:33｜France, Australia｜English｜Asian Premiere

Epitaph｜故土墓志

Cecilia Araneda 塞西莉亚·阿拉内达

2025｜0:38:56｜Canada, Chile｜English, Spanish｜World Premiere

 Epitaph, Cecilia Araneda, 2025

International Competition - 10

From the Mountain We See the Mountain｜Desde la montaña vemos la montaña｜山中望山

Julián García Long 胡利安·加西亚·朗

2025｜0:31:43｜Belgium｜Spanish｜Asian Premiere

Wind｜Bād｜风

Moeinoddin Jalali 穆因奥丁·贾拉利

2025｜0:15:54｜Iran, Ukraine｜Persian｜Chinese Mainland Premiere

The Opposite of Tadashii Is Left｜正しいの反対は左｜正确的反面是左

Yongha James Hwang 黄勇夏

2025｜0:11:02｜Japan｜Korean, Japanese｜International Premiere

The Alignment Problem｜对齐问题

Guilherme Peters, Matias Mariani, Roberto Winter 吉列尔梅·彼得斯，马蒂亚斯·马里亚尼，罗伯托·温特

2025｜0:13:29｜Brazil｜English｜World Premiere

Stop. Rehearsal Rooms for a Historical Materialism｜Stop – Salas De Ensaio Para Um Materialismo Histórico｜Stop：历史唯物主义排练室

Jorge Quintela 若热·金特拉

2025｜0:23:15｜Portugal｜Portuguese｜Asian Premiere

International Competition - 11

Koki, Ciao｜科基，再会

Quenton Miller 昆顿·米勒

2025｜0:11:10｜Netherlands｜Croatian｜Chinese Mainland Premiere

There’s a Pain｜Hay un dolor｜有一种疼痛

Froilán Urzagasti Montero 弗罗伊兰·乌尔萨加斯蒂·蒙特罗

2025｜0:40:00｜Germany, Bolivia｜Spanish, English, German, Aymara｜Chinese Mainland Premiere

We Keep on Looking for You｜Te Seguimos Buscando｜我们仍在寻找你

Diego Andres Murillo 迭戈·安德烈斯·穆里略

2025｜0:14:36｜Venezuela, US｜Spanish, English｜World Premiere

Block E, No. 5｜E Blok, Daire 5｜E座5号

Çağla Gillis 恰拉·吉莉斯

2025｜0:12:56｜Austria, Turkey｜Turkish｜Asian Premiere

Riverlands｜河流之境

Sofie Blom 索菲·布洛姆

2025｜0:12:22｜Netherlands｜English｜Asian Premiere

International Competition - 12

The Fall｜陨落

Christine Rebet 克里斯汀·雷贝

2025｜0:05:19｜France｜English, Jamaican｜Asian Premiere

We Had Fun Yesterday｜昨天我们很开心

Marion Guillard 玛丽昂·吉亚尔

2024｜0:35:00｜Belgium｜French, English｜Asian Premiere

Sixty-seven Milliseconds｜Soixante-sept millisecondes｜67毫秒

fleuryfontaine 弗勒里方丹

2025｜0:15:00｜France｜French｜Chinese Mainland Premiere

Far from the Light of Day｜Rahok Me'oro Shel Yom｜在远离白昼之光的地方

Yotam Ben-David 约塔姆·本－戴维

2025｜0:27:00｜France｜Hebrew｜Asian Premiere

Dew Point｜凝露点

Nicola Baratto 尼古拉·巴拉托

2025｜0:15:30｜France, Italy, Morocco, Netherlands｜Italian, English｜World Premiere

Dew Point, Nicola Baratto, 2025

International Competition - 13

When the Blues Goes Marching In｜Pengais Mimpi｜忧郁行进时

Beny Kristia 本尼·克里斯蒂亚

2025｜0:12:40｜Indonesia｜Indonesian｜Chinese Mainland Premiere

Eighteen Mill Street｜米尔街18号

Josh Weissbach 乔什·维斯巴赫

2024｜0:14:05｜US｜English｜Chinese Mainland Premiere

Pathologic｜Мор｜疫祸

Arsen Sarkisian 阿尔森·萨尔基西安

2025｜0:39:57｜Armenia, Russia｜Russian, Armenian｜Asian Premiere

Non-Player Character｜非玩家角色

Dan Gatzmaga 丹·加茨马加

2025｜0:13:37｜Germany｜English｜World Premiere

Friday Dreams｜Sueños de Viernes｜周五之梦

Harrotu Ileak + Zine-Lab Harrotu Ileak 小组，Zine-Lab（电影实验室）

2024｜0:13:57｜Spain｜Basque, Arabic, Spanish｜Asian Premiere

International Competition - 14

Dead Tongue｜Lengua Muerta｜亡舌

José Jiménez 何塞·希门尼斯

2025｜0:24:50｜Chile｜Spanish｜Asian Premiere

HOW (NOT) TO FILM A FASCIST MONUMENT｜法西斯纪念碑拍摄指南（错误版）

Lorenz Zenleser 洛伦茨·岑莱泽

2025｜0:08:54｜Austria, Italy｜English｜Asian Premiere

Redwood Souvenirs｜红杉纪念

John Winn 约翰·温

2025｜0:04:56｜US｜No Dialogue｜Asian Premiere

Islands｜Saaret｜群岛

Paolo Patelli 保罗·帕泰利

2025｜0:23:10｜Denmark, Finland, Italy｜Finnish, English｜International Premiere

Blue Heart｜Coeur Bleu｜心之蓝

Samuel Suffren 塞缪尔·叙弗朗

2025｜0:15:19｜Haiti, France｜Haitian (Creole)｜Chinese Mainland Premiere

Psychotronic Attacks｜Ataques Psicotrônicos｜扰心攻击

Calebe Lopes 卡莱贝·洛佩斯

2024｜0:22:00｜Brazil｜Portuguese｜Chinese Mainland Premiere