来自柏林的年轻诺拉在服用一种新的派对药物后从昏迷中醒来，并且不再记得任何事情。当调查员尼克·纳瓦尔和大卫·莱昂哈特发现许多青少年因派对毒品“极乐”的传播而失踪时，诺拉开始调查。她揭开了一个离奇的阴谋：外星人利用这种药物，以受害者的尸体为宿主。

Zindagi 50 50 has three stories of common people's special dreams. And to fulfill those dreams they have to struggle hard. Sometimes few get it easily, where most of them must struggle very hard with lots of sacrifice, values, principals to achieve their dreams. Among them only few get it after long struggle time where most of them have to loose everything with a failure tag.

是一部生活了50%人生的50多岁职业选手们的贴近现实的动作喜剧片，是周围常见的令人心酸的三名中年人的日常生活，也是早年走红后更加悲伤的大叔们的现实喜剧。

At the age of 16, Martha Coolidge was raped by a fellow student. This experience, and in particular the emotions and rhetoric in its aftermath, forms the starting point for this Brechtian film, in which Coolidge re-enacts the event and places the creative process in the foreground. 　　From the beginning, there is a clear distinction between the fictional scenes, in which the acting is deliberately slightly affected, and the documentary sequences, in which the actors discuss their roles and their own experiences. This produces a dialectical film about the gray areas of adolescent sex, and the web of insecurity, ignorance, privilege and performance pressure that can so easily turn into a toxic cocktail. 　　Coolidge further complicates matters in the intense rehearsal scenes, in which it is often not clear to the viewer what agreements have been made and whether they are being adhered to. Thus, these scenes themselves also enter gray areas, confronting the viewer with the ease with which boundaries can be blurred, shifted and crossed when they are not clearly drawn. 　　源自：https://festival.idfa.nl/en/film/ae49286a-02e8-4402-b6c0-5e7fa404c659/not-a-pretty-picture/

"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

At the age of 16, Martha Coolidge was raped by a fellow student. This experience, and in particular the emotions and rhetoric in its aftermath, forms the starting point for this Brechtian film, in which Coolidge re-enacts the event and places the creative process in the foreground. 　　From the beginning, there is a clear distinction between the fictional scenes, in which the acting is deliberately slightly affected, and the documentary sequences, in which the actors discuss their roles and their own experiences. This produces a dialectical film about the gray areas of adolescent sex, and the web of insecurity, ignorance, privilege and performance pressure that can so easily turn into a toxic cocktail. 　　Coolidge further complicates matters in the intense rehearsal scenes, in which it is often not clear to the viewer what agreements have been made and whether they are being adhered to. Thus, these scenes themselves also enter gray areas, confronting the viewer with the ease with which boundaries can be blurred, shifted and crossed when they are not clearly drawn. 　　源自：https://festival.idfa.nl/en/film/ae49286a-02e8-4402-b6c0-5e7fa404c659/not-a-pretty-picture/

《梵高》（Van Gogh，阿兰·雷乃，1948年|17分钟|35毫米|黑白|有声）以荷兰著名画家梵高（1853—1890）的绘画作品作为影像素材讲述了梵高的生平并评述了他的绘画艺术。法国南部普罗旺斯地区一望无际的麦田，古朴清幽的农舍，梵高及其朋友和邻居们的形象依次出现在银幕上。这些形象不是摄自现实的生活场景，而是取自画家的绘画作品，零碎的形象在摄影机的关照之下复活起来。本片导演阿兰·雷乃（Alain Resnais）1922年生于法国瓦纳市，1943年入巴黎高等电影学院学习剪辑。在1959年因执导故事片《广岛之恋》而一鸣惊人之前，他的电影创作活动主要是在纪录片方面，并成为二战后法国纪录电影学派“三十人集团”的核心人物。1940年代末到1950年代初，雷乃拍过一系列美术纪录片，本片即是其中的一部。本片的表现手法，正如雷乃在本片的片头字幕上所说，就是“仅仅通过绘画作品展示这位伟大现代画家的生命传奇与精神历险”，探索“绘画作品中的形象和事物能否在电影叙事中取代现实生活中的形象和事物，以及观众能否接受这些形象并顺利进入画家的内心世界”。