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簡(jiǎn)介：謝君雅是個(gè)熱愛(ài)棒球的高中少女，因天生陰陽(yáng)眼而不堪其擾。去道場(chǎng)修行不但沒(méi)獲改善，反倒信眾不停上門(mén)求診。靈媒工作讓君雅沒(méi)了時(shí)間練球，盡管紅包收得再多，這位神算內心在意的卻是：棒球隊學(xué)長(cháng)到底喜不喜歡我？

簡(jiǎn)介：“It is a film from an extended series. It is hard to say who is the main character of “The Soviet Elegy.” There are more than a hundred faces of our compatriots. But, of course, it is not by chance that it is the destiny of a famous political figure, Boris Nikolayevitch Yeltsin, that bears a special accent in the film. Though he got to power following quite typical ways, his uncommon character puts him out of the ordinary, and in the author’s opinion it may be determined by his uncommon human nature. Our hero exists within the tragic pattern of the soviet socialist life. He is a character of a drama, of which he is one of the authors. “The Soviet Elegy” can hardly be called a documentary film in the proper sense. Of course, the author guarantees the accuracy of chronology, but he insists on an artistic mode of thinking, not on a political or historical investigation.”

簡(jiǎn)介：Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a real man, Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

簡(jiǎn)介：1986年，瑞典國家健康與福利部委托導演羅伊·安德森就艾滋病題材拍攝一部教育影片，以便在學(xué)校和軍隊向學(xué)生和新兵傳播艾滋病源頭和防御的信息。但在電影拍攝期間，健康與福利部要求安德森終止該項目。原因是他們觀(guān)看了已拍攝部分的素材，并對影片里信息的可靠性和拍攝風(fēng)格提出了質(zhì)疑。安德森并未遵循，而是憑幾之力完成了該部電影?！　￡P(guān)于艾滋病的起源，影片采用了陰謀論式的論調。在它的描述中，艾滋病病毒并非起源于非洲并由動(dòng)物傳播給人類(lèi)，而是由美國科學(xué)家在實(shí)驗室中創(chuàng )造出來(lái)，并隨后應用于人體實(shí)驗。今天，這部電影被看做是羅伊·安德森個(gè)人風(fēng)格形成中的重要一步。

簡(jiǎn)介：A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.　　Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

簡(jiǎn)介：Vera and Bruno used to be a couple, but haven't seen one another since they separated. He coincidentally appears before her during a long-awaited country house weekend with friends on the outskirts of Buenos Aires.

簡(jiǎn)介：

　　“For two years starting in 2020, this work has been forming along the edges of disquiet and premonition, in fragments and intensities, through wandering and not-staying. It has tried to find language for and ways across the bizarre upheavals of social and political values with the rise of fascism in India and a global pandemic. It has insisted on being amongst the things that keep from falling apart. Filmed in Delhi, these incomplete fictions are of the people, places, and protests that keep the language of hatred at bay and absorb the city’s grief and euphoria. In them are the continuous echoes of a violent and tenuous present.
　　The false closures and tenuous associations in this video/essay compose a timeline of the city at an angle through the time of this work. There is a shadowy sense of a protagonist who un-dreams it all; a stranger, who it turns out, is no stranger at all.” Priya Sen

簡(jiǎn)介：

　　Serenading in the meadow to win the heart of someone.