1978年，澎湖西吉嶼遷村後成為無人島，王船儀式依然深植集體記憶，象徵對亡魂的安息與不捨。儀式中，遺體安置於王船，漂向大海，隱喻靈魂歸返與生命輪迴。黑水溝流域船難歷史賦予此儀式深刻的精神意涵。影片無旁白、無字幕，透過畫面與聲音重現儀式，並結合3D掃描與電腦動畫，探索海洋文化的情感與歷史脈絡。

1978年，澎湖西吉嶼遷村後成為無人島，王船儀式依然深植集體記憶，象徵對亡魂的安息與不捨。儀式中，遺體安置於王船，漂向大海，隱喻靈魂歸返與生命輪迴。黑水溝流域船難歷史賦予此儀式深刻的精神意涵。影片無旁白、無字幕，透過畫面與聲音重現儀式，並結合3D掃描與電腦動畫，探索海洋文化的情感與歷史脈絡。

出身富家而又善良的医生卡玛尔，爱上了生病住院的贫民姑娘艾明娜，并且为了娶她而甘心去过贫穷的生活。 由于家庭的阻挠卡玛尔被医院辞退，婚后他开了一间小诊所维持生计。但是在一次出诊时不幸摔伤了腿，只能在家里休养，他们的生活变得拮据起来。艾明娜为了让家里生活正常运转，便瞒着丈夫给一位双目失明的富人去做护工。由此引起了卡玛尔的父亲和表妹的非议，诬蔑她对丈夫不忠。卡玛尔也对妻子产生了误解，带着年幼的女儿重新回到了父亲身边。

《绑架》描写了在美国特务组织的指使下，捷克斯洛伐克人民的叛徒劫持了一架民航客机降落在西德机场，美军占领当局用尽一切卑鄙无耻的手段，企图强迫飞机中的乘客留在西德，藉此对人民民主国家进行诬陷，制造国际紧张局势，但是被绑架到西德的捷克斯洛伐克公民们，虽然经历不同，职业不同，却都一致地热烈和平，热烈自己的国家，因此他们坚决要求立即回到自己的祖国，他们在威迫利诱下毫不动摇，与美国特务分子展开无情的斗争，终于获得了胜利。

It took two years for Mehran Tamadon to persuade the four supporters of the Iranian regime to risk taking part in an experiment with him. Now he receives them as guests at his family’s country house to try out something that does not exist in Iran: a pluralistic society. As the women disappear into the guest rooms, the men discuss the advantages and disadvantages of a secular society, the veil, abortion, freedom of the press… The guests not merely outnumber the filmmaker, who is critical of the regime, but are also masters of rhetoric. Again and again, they twist his words and use them against him. His secular society, they argue, is just as ideological as their religious one. The mood is contentious, but there’s also a great deal of communal laughter, prayer and cooking. In the end, the attempt to create a social utopia fails as there are simply too many issues that are non-negotiable. But does that mean that the experiment itself has failed? After all, for a brief time, differing lifestyles and opinions managed to co-exist. A dialogue took place. For the filmmaker, however, there’ll be a high price to pay. (Berlinale 2014)

It took two years for Mehran Tamadon to persuade the four supporters of the Iranian regime to risk taking part in an experiment with him. Now he receives them as guests at his family’s country house to try out something that does not exist in Iran: a pluralistic society. As the women disappear into the guest rooms, the men discuss the advantages and disadvantages of a secular society, the veil, abortion, freedom of the press… The guests not merely outnumber the filmmaker, who is critical of the regime, but are also masters of rhetoric. Again and again, they twist his words and use them against him. His secular society, they argue, is just as ideological as their religious one. The mood is contentious, but there’s also a great deal of communal laughter, prayer and cooking. In the end, the attempt to create a social utopia fails as there are simply too many issues that are non-negotiable. But does that mean that the experiment itself has failed? After all, for a brief time, differing lifestyles and opinions managed to co-exist. A dialogue took place. For the filmmaker, however, there’ll be a high price to pay. (Berlinale 2014)

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Just as the title of Varda said, this is a suitable place in love, those bright colors, like www. iav5.com love when excited enthusiastic, bold, pass ionate, colorful, bright, gorgeous. Provided

導演在1964年從羅馬回到德黑蘭，開始研究並拍攝伊朗社會的黑暗面，完成六部此類題材的作品。但是這些影片以及素材，後來皆被沒收、禁止發表。在伊斯蘭革命（1979年）之後曾有一段短暫的時間解禁，導演得以在這段時間完成剪輯。本片為六部作品其中之一，記述伊朗政府於1963年推行白色革命（White Revolution）以後，德黑蘭南方的克哈撒內（Khazaneh）城內居民生活的改變。片中訪問十幾名不同背景的民眾，包含學校孩童、紙袋工人、洗衣婦、流浪漢等等。

導演在1964年從羅馬回到德黑蘭，開始研究並拍攝伊朗社會的黑暗面，完成六部此類題材的作品。但是這些影片以及素材，後來皆被沒收、禁止發表。在伊斯蘭革命（1979年）之後曾有一段短暫的時間解禁，導演得以在這段時間完成剪輯。本片為六部作品其中之一，記述伊朗政府於1963年推行白色革命（White Revolution）以後，德黑蘭南方的克哈撒內（Khazaneh）城內居民生活的改變。片中訪問十幾名不同背景的民眾，包含學校孩童、紙袋工人、洗衣婦、流浪漢等等。