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簡(jiǎn)介：A young surveyer, new to Ontario, encounters the blackflies. Over and over again, he encounters those blackflies.

簡(jiǎn)介：基希洛夫斯基的早期短片?？坍?huà)一對年青男女在電車(chē)上的偶遇。

簡(jiǎn)介：男子學(xué)校的課堂上，男孩們等待著(zhù)老師的到來(lái)。當一臉嚴肅的男老師走進(jìn)來(lái)的時(shí)候，氣氛一下子變得沉悶不堪。教室廣播突然響起：同學(xué)們，今天學(xué)校將會(huì )有一些改革和變化。你們的老師將會(huì )對于你們的未來(lái)給出建議和規劃，而你們需要做的就是仔細地聽(tīng)取老師們的建議，并嚴格遵從他們的指示。你們將是學(xué)校和同學(xué)們的驕傲?！　V播播報完畢后，男老師在黑板上寫(xiě)下“2 2=5”。大家都非常吃驚，這根本就不符合常理。但是老師宣稱(chēng)這是讓男孩們學(xué)會(huì )的第一個(gè)“真理”。一片安靜過(guò)后，男孩們都跟隨老師一起讀著(zhù)。終于，一個(gè)男孩舉手質(zhì)疑這個(gè)答案?？墒窃诶蠋煹膹娖认?，他默默地坐下了。此時(shí)第二個(gè)男孩也站起來(lái)跟老師爭辯?？墒抢蠋煹拇鸢竻s是：你不需要任何思考。男老師甚至找來(lái)大學(xué)生來(lái)恐嚇這個(gè)男孩，他的同班同學(xué)更是不想惹禍上身。老師再次疾言厲色地問(wèn)道：答案到底是幾？男孩毅然在黑板上寫(xiě)下了：4。隨之，悲劇的一幕發(fā)生了……

簡(jiǎn)介：奧蘭多和薩烏，兩名個(gè)性迥異的男孩，偶然產(chǎn)生交集。奧蘭多充滿(mǎn)自信，完全不因身為HIV陽(yáng)性而自暴自棄；薩烏毫無(wú)自信，而且對性一知半解。他們的相遇影響彼此看待人生的方式，性也能是無(wú)拘無(wú)束的美好接觸，而非掠奪侵占的予取予求。

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：While Guillermo tries to fix his romantic life making a film about it, he will discover another reality through Samir, a Syrian refugee, who will make him think that all his issues are superficial.

簡(jiǎn)介：

簡(jiǎn)介：Guy Maddin writes, Tscherkassky has made two films cannibalizing Sidney J. Furie's 1982 Barbara Hershey horror film THE ENTITY, the story of a woman who is continually assaulted and raped either by real ghosts or by awfully adept repressed traumas… The screen literally explodes with a tumult of Hershey faces, shattering Steve Burum's original cinematography into shards of frightened eyes, trembling hands and violent outbursts of self-defense, presented in multiple exposures too layered to count, too arresting to ignore.

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：影片獲荷蘭電影節最佳電視電影和最佳男演員獎。內斂的十七歲男孩托馬斯和他的性格奔放的妹妹娜奧米從童年起便被父母拋棄，住在青年福利局和不同的寄養家庭中。盡管他們希望從生活中獲得更多，卻除了保護自身之外再看不到絲毫的其他出路。在一次意外事件后，他們忽然找到了生活中最重要的支柱：雖然他們并非受上帝眷顧的國王之子，但他們至少擁有彼此，為此他們也將不惜一切。（小易甫字幕組）

簡(jiǎn)介：RFA197215‘VOSTF16mm　　d'après ? I cani del Sina? ? de Franco Fortini.

簡(jiǎn)介：Two strangers meet in a subway car. Both bring their past with them. Both look from their present. Both will determine their future in that fleeting, and ephemeral, vital journey that brings them together briefly.

簡(jiǎn)介：無(wú)數人或許都向往著(zhù)與魔法的不期而遇，如果有一天，魔法突然造訪(fǎng)，你的生活會(huì )出現什么樣的插曲？片中主人公，一個(gè)普通到不能再普通的人，過(guò)著(zhù)平常到不能再平常的生活。突然一天，沒(méi)有任何征兆地，一只白鴿就這么從他的洗衣機中飛了出來(lái)。從這之后，怪事接二連三地發(fā)生。魔法的到來(lái)打破了日常一貫的平靜，然而并沒(méi)有像大多數人希望的那樣，生活似乎開(kāi)始變得不那么容易了……（豆瓣電影字幕翻譯2.0小組）

簡(jiǎn)介：Procida, a little Island in the gulf of Naples. Last days of summer. The adolescence of Domenico is coming to an end, just like his tormented relationship with Marcello. Domenico looks for hospitality at Antonios house, his best friend, but soon he finds himself alone with the thirteen years old Antonios brother Lallo. A journey of discovery starts, between adolescence and maturity. The meeting with Sara, a transsexual woman, will bring to light the desires of the two young boys.

簡(jiǎn)介：

簡(jiǎn)介：安哲學(xué)生時(shí)代的短片作品。

簡(jiǎn)介：兩個(gè)年輕人在公寓醒來(lái)，邊吃早餐邊聊天，然后去取單車(chē)

簡(jiǎn)介：在克里特島東北：一個(gè)男子被警察從荒無(wú)人煙的史賓納隆加小島押送到主島上。這個(gè)男子是一個(gè)豎琴音樂(lè )家，堅持對自己的經(jīng)歷只字不提。其他人則開(kāi)始對此進(jìn)行猜測。

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：Mother, father and sister visit the adult son in the family in his small apartment for a dinner. The father gives one critical view after the other about his sons life.

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.”