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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：A unique relationship flourishes between an aspiring artist and a plant man growing in his garden.

簡(jiǎn)介：Two young women retreat to a remote holiday home. While one of them undertakes a medical abortion, the other quietly cares for her. A snake slithers around them, unnoticed.

簡(jiǎn)介：「明天就要高裝檢了，連上怎麼會(huì )多了根通砲桿！」車(chē)長(cháng)命令四個(gè)裝甲連的天兵，要想方設法將這根桿子藏起來(lái)。他們開(kāi)著(zhù)一臺空氣戰車(chē)，不打砲只出包，一下子遇到哨兵，一下子又撞鬼，好不容易桿子消失了，沒(méi)想到其中一個(gè)阿兵哥竟順勢逃兵，這下車(chē)長(cháng)可真要發(fā)火了。致我們永不消逝的軍旅生涯！

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：Experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with...a vampire

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：馬凱是一名普普通通的剪輯師，他受過(guò)專(zhuān)業(yè)的電影理論和技術(shù)的訓練，對電影有著(zhù)崇高的理想和熱愛(ài)。不久前他剛剛和搭檔為一名高傲自負的青年導演擔任新片的剪輯工作，但是馬凱無(wú)法接受學(xué)院派老一套的剪輯方法，于是自作主張加入了幾個(gè)表達情緒用的空鏡頭，結果惹來(lái)導演的怒罵，命令他們在看片會(huì )之前按照劇本按部就班地剪出來(lái)。萬(wàn)般無(wú)奈，馬凱和大雄從頭來(lái)過(guò)，而且連花絮的編輯也需承擔，兩人只能熬夜工作。次日一早，馬凱開(kāi)車(chē)送片，誰(shuí)知稀里糊涂走錯了路。另一邊，導演的版本遭到投資方否定，他的組被迫停工。沒(méi)有責任心的導演將責任推到馬凱身上，絕塵離去。失意的馬凱在替身女孩小桃鼓勵下重拾信心?！　《驮诖岁P(guān)頭，馬凱經(jīng)歷了一件神奇的事，人生有望剪輯重來(lái)……

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：星期五、球場(chǎng)、冰淇淋、口水病、少女、男孩。

簡(jiǎn)介：短片講述了一個(gè)帶著(zhù)三個(gè)孩子的母親，因為日常生活和丈夫陷入沮喪。而這時(shí)，她發(fā)現自己可以通過(guò)窗戶(hù)看到住在對面鄰居的生活...

簡(jiǎn)介：菲利普三十歲，發(fā)現自己已經(jīng)開(kāi)始脫發(fā)。這位晚熟的音樂(lè )家，覺(jué)得脫發(fā)是一件非同小可的災難。皮膚科醫生告訴他，惟有他的父親能告訴他，還剩下多長(cháng)時(shí)間會(huì )禿頂：似乎每個(gè)家庭的男人，禿頂的年齡都一樣。菲利普于是回到故鄉，想知道父親徹底禿頂的年齡——也就是他自己的。

簡(jiǎn)介：十三個(gè)關(guān)于死神死亡的恐怖短片集，以死神翻黑桃撲克牌串聯(lián)起來(lái)。每個(gè)故事都會(huì )出現一張黑桃撲克牌

簡(jiǎn)介：考完大學(xué)入學(xué)考，20歲的男同志光浩和朋友到同志酒吧放鬆一下。他在那裡偶然認識了俊，毅然決然跟著(zhù)他到首爾的家裡過(guò)了一夜。

簡(jiǎn)介：孤獨的文英拿著(zhù)DV記錄著(zhù)生活中的點(diǎn)滴和不同的面孔，直到與一個(gè)女生相識。她們同床入眠，卻又各懷心思。

簡(jiǎn)介：懶人鎮，鎮如其名，在這里看不到緊張忙碌的工作場(chǎng)面，也碰不見(jiàn)行色匆匆的路人。溫暖慵懶的空氣緩緩流動(dòng)，黑人鎮民以及小動(dòng)物們仿佛被沙仙施了魔法一般都陷入沉睡之中，整個(gè)小鎮沒(méi)有一絲生氣?！　∫凰铱洼喛拷℃?，美麗性感的爵士女郎步下階梯，她唱起歡快激情的哈萊姆旋律，懶惰的人民為這輕快的舞步和跳躍的節奏所感染，紛紛從沉睡中醒來(lái)，快樂(lè )地工作，盡情地玩耍。懶人鎮重新充滿(mǎn)活力……

簡(jiǎn)介：A shipowner intends to scuttle his ship on its last voyage to get the insurance money. Charlie, a tramp in love with the owner's daughter, is grabbed by the captain and promises to help him shanghai some seamen. The daughter stows away to follow Charlie. Charlie assists in the galley and attempts to serve food during a gale.

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：In order to avoid being bullied from two hooligans, Xiao Bin, a 13 years old son of immigrant, attempts to join a teenager street gang.

簡(jiǎn)介：Young, trans Michael returns to his family home in the rural American West. His father takes him on a sultry exploit, striving to connect.

簡(jiǎn)介：深夜里，剛剛結束了一天棒球訓練、正要背包回家的黑人少年Xavier在黑暗的街道上被兩個(gè)便衣警察叫住，他們對Xavier進(jìn)行了例行盤(pán)問(wèn)并要求檢查他的背包，緊張、懷疑的氣氛在逐漸蔓延……　　本片為2015年圣丹斯與翠貝卡電影節的精選影片。

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：Isolated on a farm and fighting against his family's decision, Aaron struggles to be heard as he watches his mother willingly die.