His mother having died while giving birth to his younger brother, and his father mentally incapacitated due to a serious car accident, 13-year old Yeong-cheol must look after his yoyng siblings. His neighbors, however, feel that it would be a kindness to have the children sent to an orphanage.

A con-team couple head west after taking a city businessman for his BMW. But an encounter with a naive young carpenter traveling home with his life savings challenges their fate as thieves.

This documentary explores the disappearance of archival images. The narrator examines their role, evolution, and the challenges threatening their survival. These images, an integral part of our visual culture, reflect both our stereotypes and our history. Today, they fuel artificial intelligence (AI) databases, which generate new images by transforming and integrating those from the past.

Young Sidney Cyclops wants nothing more than to be the greatest paperboy in the world. Unfortunately, he cannot see. It's up to Timmy, Brushbrush and Bubbles to help Sidney.

It's Ronald's birthday and Hamburglar, upset that he didn't get Ronald a present, invites everyone to a fake amusement park known as "Birthday World" to celebrate, run by an evil mad scientist named Professor Thaddeus J. Pinchworm. Everyone is amused at first, but they can no longer escape and no longer fall for the poor designs of the rides until they ride a rollercoaster which turns them into babies (both Franklin and Tika are wearing diapers) and they need to find out how to return to their original ages, even though their certain abilities are limited since they are toddlers.

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

The Mountain Goats in solo and duo performance at Pomona College. In this film by Rian Johnson, John Darnielle performs The Life of the World to Come on piano and guitar. Shot in the same building where, as an eight-year-old piano student and new transplant to Claremont, he performed Bach minuets for the state examiner, The Life of the World to Come takes the songs from the album and restores them to their raw original states: skin, blood, and bone.

暂无剧情简介

暂无剧情简介