By the end 1968, Jean-Luc Godard would make his 18th feature film since his debut in 1960. In addition to this prodigious output—already perhaps the most varied and artistically successful such span in film history—he also produced 8 accomplished short films. All are episodes of omnibus films except one: Film-tract nº 1968, a collaboration with the French painter Gerard Fromanger.

By the end 1968, Jean-Luc Godard would make his 18th feature film since his debut in 1960. In addition to this prodigious output—already perhaps the most varied and artistically successful such span in film history—he also produced 8 accomplished short films. All are episodes of omnibus films except one: Film-tract nº 1968, a collaboration with the French painter Gerard Fromanger.

Every time our annual international film fest hits town, I scan all the offerings, with special attention to Iranian productions. I have seen so many fascinating films from a country that, in recent years, has banned Hollywood and other films foreign to them, and yet their filmmakers, despite having to follow strict guidelines and risking censorship at every turn, produce some of the finest films in world cinema. 　　This documentary features interviews with several Iranian filmmakers, plus clips from a number of their best films. Among various aspects of Iranian film-making, they talk about how their reflective films differ from the Hollywood action variety, although there is such a role for Iranian film as well. What perhaps is really remarkable is how freely these producer/directors talk in a critical way about the censorship exercised in their country. The clever ways they get around it actually appear to challenge and enhance their creativity (as Duke Ellington once said, in describing how he had to compose his music to fit the talents and limitations of his band members, "It can be good to have limits"). Unusual scenarios between husbands and wives get around the rule that men and women, even when married, can't touch. Children are sometimes used to state in an allegorical or analogous fashion what could not be presented by adult characters. And the role of women is wondrously portrayed in these productions from a country that severely limits women's roles.

Every time our annual international film fest hits town, I scan all the offerings, with special attention to Iranian productions. I have seen so many fascinating films from a country that, in recent years, has banned Hollywood and other films foreign to them, and yet their filmmakers, despite having to follow strict guidelines and risking censorship at every turn, produce some of the finest films in world cinema. 　　This documentary features interviews with several Iranian filmmakers, plus clips from a number of their best films. Among various aspects of Iranian film-making, they talk about how their reflective films differ from the Hollywood action variety, although there is such a role for Iranian film as well. What perhaps is really remarkable is how freely these producer/directors talk in a critical way about the censorship exercised in their country. The clever ways they get around it actually appear to challenge and enhance their creativity (as Duke Ellington once said, in describing how he had to compose his music to fit the talents and limitations of his band members, "It can be good to have limits"). Unusual scenarios between husbands and wives get around the rule that men and women, even when married, can't touch. Children are sometimes used to state in an allegorical or analogous fashion what could not be presented by adult characters. And the role of women is wondrously portrayed in these productions from a country that severely limits women's roles.

1968年，前南斯拉夫在铁托同志的号召下由斯大林主义走向社会主义自治制度，这一转变，让许多知识分子的思维与生活产生了混乱与崭新变化。本片讲述了这一年里，一个典型的前南斯拉夫家庭——父亲（Danilo Stojkovic）是一位信仰马克思主义的小镇法官，大儿子Petar（Slavko Stimac饰）是一位青春期苦恼的少年，渴求寻找到自己的真爱，母亲温柔可人，女儿聪敏懂事，小儿子调皮机灵——还有一位祖父，平日与许多老干部一起在养老院中打牌玩乐，生活自在、大隐于市。 　　Petar的寻爱旅程开始于他的社会学女老师，经历了对女图书管理员、面包店老板的未婚妻、自治省法院院长的两位女儿的短暂迷恋后，他的一事无成与胸无大志开始让他父亲感到恼火。伴随着整个社会风俗的开放与文艺的活跃，一队布拉格来的女子管弦乐团为小镇带来了一阵清新的空气，为期几天的巡演成为了小镇上少有的狂欢，Petar的祖父也回到镇上，与Petar分享生活中销声匿迹许久的率性、真情与自由…… 　　Goran Paskaljevic导演的这部电影让人联想到许多同样取材于懵懂青春的阵痛的早期作品，如Miloš Forman导演的《黑彼得》，Jirí Menzel导演的《严密监视的列车》。Paskaljevic的作品中充斥的于社会动荡中寻求不羁个性、于平凡现实中观察人心深情的态度，让他的青春喜剧都饱和着令人安心而充满希望的色彩。 （By 思.s。）

1968年，前南斯拉夫在铁托同志的号召下由斯大林主义走向社会主义自治制度，这一转变，让许多知识分子的思维与生活产生了混乱与崭新变化。本片讲述了这一年里，一个典型的前南斯拉夫家庭——父亲（Danilo Stojkovic）是一位信仰马克思主义的小镇法官，大儿子Petar（Slavko Stimac饰）是一位青春期苦恼的少年，渴求寻找到自己的真爱，母亲温柔可人，女儿聪敏懂事，小儿子调皮机灵——还有一位祖父，平日与许多老干部一起在养老院中打牌玩乐，生活自在、大隐于市。 　　Petar的寻爱旅程开始于他的社会学女老师，经历了对女图书管理员、面包店老板的未婚妻、自治省法院院长的两位女儿的短暂迷恋后，他的一事无成与胸无大志开始让他父亲感到恼火。伴随着整个社会风俗的开放与文艺的活跃，一队布拉格来的女子管弦乐团为小镇带来了一阵清新的空气，为期几天的巡演成为了小镇上少有的狂欢，Petar的祖父也回到镇上，与Petar分享生活中销声匿迹许久的率性、真情与自由…… 　　Goran Paskaljevic导演的这部电影让人联想到许多同样取材于懵懂青春的阵痛的早期作品，如Miloš Forman导演的《黑彼得》，Jirí Menzel导演的《严密监视的列车》。Paskaljevic的作品中充斥的于社会动荡中寻求不羁个性、于平凡现实中观察人心深情的态度，让他的青春喜剧都饱和着令人安心而充满希望的色彩。 （By 思.s。）

距今50年前的1968年，爆发了20世纪最大规模的全球反抗运动。 　　世界各国青年同时奋起，向僵化的社会结构和意识形态造反。1968年的政治和文化革命，奠定了今日全球化和现代社会的基础。 　　1960年代，以反对美国在越战争为背景的学生运动风起云涌，以民歌和摇滚乐讴歌爱与和平、反体制的嬉皮文化百花齐放。 　　法国的五月风暴使全国陷于瘫痪，日本学生运动的激烈程度也不遑多让，东京大学安田讲堂占领事件、新宿骚乱等重大事件相继发生。 　　随着越战陷入泥潭，各国极左激进组织活动猖獗，犯下绑架、爆炸、劫机等累累罪行。 　　与此同时，欧洲掀起民主化浪潮，非洲独立运动势如破竹，发达国家废除种族歧视的民权运动，废除性别歧视的妇女解放运动、同性恋解放运动等社会运动方兴未艾..... 　　本片回顾1968年前后十年的动荡岁月，采访那些当年叱诧风云的新时代旗手，请他们在相隔半个世纪以后，以今天的眼光重新审视反叛的1968年，它究竟有没有改变世界，及其留给当今世界的遗产。

距今50年前的1968年，爆发了20世纪最大规模的全球反抗运动。 　　世界各国青年同时奋起，向僵化的社会结构和意识形态造反。1968年的政治和文化革命，奠定了今日全球化和现代社会的基础。 　　1960年代，以反对美国在越战争为背景的学生运动风起云涌，以民歌和摇滚乐讴歌爱与和平、反体制的嬉皮文化百花齐放。 　　法国的五月风暴使全国陷于瘫痪，日本学生运动的激烈程度也不遑多让，东京大学安田讲堂占领事件、新宿骚乱等重大事件相继发生。 　　随着越战陷入泥潭，各国极左激进组织活动猖獗，犯下绑架、爆炸、劫机等累累罪行。 　　与此同时，欧洲掀起民主化浪潮，非洲独立运动势如破竹，发达国家废除种族歧视的民权运动，废除性别歧视的妇女解放运动、同性恋解放运动等社会运动方兴未艾..... 　　本片回顾1968年前后十年的动荡岁月，采访那些当年叱诧风云的新时代旗手，请他们在相隔半个世纪以后，以今天的眼光重新审视反叛的1968年，它究竟有没有改变世界，及其留给当今世界的遗产。