一面是万丈深渊，一面是悬崖绝壁，当她恢复知觉，发现自己身陷险境，生与死就在咫尺之间。是坐以待毙，还是绝地求生？她用残破的肢体摸索活下去的可能，但正在这样的绝境之中，岂料天公不作美，一场暴雨即将来临…… 本片由澳大利亚导演Tim Egan拍摄，从最初的概念到拍摄脚本，只花了8个小时的时间，短片剧本受到导演生命中两个关键时刻的启发——一次严重的车祸，以及和一个沮丧的朋友的交谈。“我依旧记得我的手指扣在湿漉漉的路面上的那种感觉。”当时他被撞倒在繁忙的交通中心的车道上，无助的躺在沥青柏油之间，随时可能被第二辆车碾过。 不可否认导演的亲身经历让他对死亡的恐惧，以及求生的本能都有了更真切的认识。本片的细节刻画相当出色，角色的每一个动作都生死攸关，而在共同承担这令人窒息的紧张氛围的同时，内心的强大在外部恶劣的条件下却又那样不堪一击。 Tim Egan凭借这部黑暗风格的极简主义短片，一举拿下2016纽约翠贝卡电影节（Tribeca Film Festival）官方选择奖、西班牙锡切斯奇幻电影节（Sitges Film Festival）最佳短片奖、美国奇幻电影节(Fantastic Fest)、法国PIFFF电影节金瞳奖、俄罗斯TIFF电影节最佳短片奖等众多奖项。

Soviet era science-fiction is something that holds a great fascination as an x-ray of the zeitgeist of its times in exactly the same way that 1950s Hollywood B movies are fascinating historical artefacts for the way that they amplify fears of the Atomic Age and of the Communist threat. The Soviet films are fascinating in very different ways to their American counterparts – you can, for example, look through any of the Eastern Bloc science-fiction films of this era in vain in search of a work where they fear an invasion of the USSR by aliens that are a thinly disguised allegory for the United States. Moreover, there was only a single Soviet film, Letters from a Dead Man (1986) – which was made well into the era of perestroika – that deals with the issue of nuclear war and none at all that feature atomic monsters. Rather most of the Soviet science-fiction films of the 1950s and 60s seem political/ideologically driven works that feature noble scientists and engineers of the regime as they boldly carry the Communist cause to the stars. See efforts such as The Heavens Call (1959), Storm Planet (1962), Andromeda Nebula (1967), Moscow-Cassiopeia (1973), and works from non-Russian countries such as First Spaceship on Venus (1959) and Ikarie XB-1/Voyage to the End of the Universe (1963). Most of these were brought up by Roger Corman and AIP and re-edited into titles like Battle Beyond the Sun (1963), Voyage to the Prehistoric Planet (1965), Queen of Blood (1966) and Voyage to the Planet of Prehistoric Women (1968). These are not fearful films like their American counterparts, rather they seem lit up by the grand ideals of colonising the universe that caught the Soviet imagination during the Space Age. 　　The Hyperboloid of Engineer Garin is based on The Hyperboloid of Engineer Garin/The Garin Death Ray (1927), a novel by Alexei Tolstoy, the writer whose original work also became the basis of the very first Soviet science-fiction film, the silent classic Aelita (1924). The film would appear to be a fairly accurate translation of the book from what I can gather, even retaining the 1920s setting of its original publication. The one thing that left me puzzled was the reference to the death ray as an hyperboloid. My immediate thought was to think of the literary term ‘hyperbole’, which means a form of exaggeration that is not meant to be taken literally, but apparently an hyperboloid is a curved three-dimensional surface. 　　The first half of The Hyperboloid of Engineer Garin takes place as a spy thriller. It is fascinating to see as a counterpoint to the numerous English-language spy films that were being made around this era such as the James Bond and Harry Palmer films or more serious works like The Spy Who Came in from the Cold (1965). These often featured the Soviets as villains but here we are seeing a spy film from the opposite side of the political fence. Like many of these others, The Hyperboloid of Engineer Garin takes place in a series of freewheeling international locations, which are often lavishly presented. I began to get into the film, impressed by the directorial style that Alexander Gintsburg was showing where many of the scenes are shot in an exaggeratedly heavy contrast of light and shadow that immediately recalls the world of The Third Man (1949). On the minus side, you get the feeling that the film is compacting down the complicated plotting that takes place in the book. What we end up with is a murkily incomprehensible plot that involves the murder of a double of Garin, international blackmail and sabotage, multiple murder plots and a number of factions running around all seeking to either kill Garin or get their hands on his discovery, at the same time as he tries to find a colleague who has gone into hiding in a remote part of the world. 　　It is when it unveils its hyperboloid about halfway through that The Hyperboloid of Engineer Garin starts to come to life as a science-fiction film. There is the fascinating scene where Yevgeny Yevstigneyev’s Garin is holed up in a villa as several people come after him and so switches the hyperboloid on and eliminates all his opponents by sweeping the heat ray across the door. Thereafter the film abandons the spy thriller aspect and becomes a film about an amazing discovery. Here it starts to resemble one of the German classics of the early sound era – the likes of F.P.1 Does Not Answer (1932), The Tunnel (1933) and Gold (1934), which were films made about scientific discoveries that marvelled in the sheer power of engineering projects. There is a great fascination to the scenes of the machine drilling through the Earth to reach the olivine layer, the vast project built on the island and especially the scenes where Yevgeny Yevstigne

在陶辉新作《演技教程》中，十三位女演员有系统地复制着极端条件下的各类人的情感表现，并把这些实践视为对演技的磨练。随着制定的表演教程愈发地歇斯底里，她们的演练渐渐转变为可怕的现实，把观众丢弃在表演与现实之间的荒诞交会处。

本动画片短短不过5分钟，却引人发思。 　　设计师从公文包里掏出笔与各种作图工具，伴着市井之声，他开始在图纸上设计楼房。房间与房间在他笔下除了位置，一模一样。之后，他将一张张家庭剪影放进一个个房间，房间似乎有了生气也有了区分。但他紧接的动作表明，每个人的人生，都似他设计的一个个房间，并无不同。

电影《设计》讲述了一众人物在冷血无情的世界中,被欲望驱使着互相伤害和被伤害,展开令人窒息的头脑战斗的故事。

电影《设计》讲述了一众人物在冷血无情的世界中,被欲望驱使着互相伤害和被伤害,展开令人窒息的头脑战斗的故事。

会测量并分享天气的智慧型雨伞，香味叫醒功能的闹钟、手持3D摄像机……跟随主持人，带你参观一场最先进、最炫酷的科技盛会。

尤拉在69岁时终于鼓起勇气逃离了噩梦般的婚姻，然而旁人并不能理解她的痛苦，还为家暴成性的丈夫辩护。人到暮年，她却仍有一颗少女心。在开启属于自己的新生活后，她在拉丁舞课上找到了新的爱情。《恋爱教程》是一部献给所有受亲密关系困扰的女性的作品，片中充满细致入微的记录和发自肺腑的情感表达鼓励着所有年龄段的女性，无论在人生的任何阶段，都应勇敢追寻自我。

尤拉在69岁时终于鼓起勇气逃离了噩梦般的婚姻，然而旁人并不能理解她的痛苦，还为家暴成性的丈夫辩护。人到暮年，她却仍有一颗少女心。在开启属于自己的新生活后，她在拉丁舞课上找到了新的爱情。《恋爱教程》是一部献给所有受亲密关系困扰的女性的作品，片中充满细致入微的记录和发自肺腑的情感表达鼓励着所有年龄段的女性，无论在人生的任何阶段，都应勇敢追寻自我。

4岁的认知方式可以决定人一生的品味！ 　　“啊（あ）”是全世界孩子出生后自然而然会说的第一个音节。这部课程带孩子从这个赞赏而有感染力的音节出发，领略日常生活里，所有普通事物的美好和惊奇。这个方式不但能启发启发思维，而且可以带孩子习得美感。 　　这个系列专题片由NHK从出品，日本当代设计大师佐藤卓监制，联合无印良品艺术总监原研哉等多位设计大师历时6年策划，专为4岁以上儿童拍摄，是对孩子进行思维认知和美育启蒙的专题片，每集15分钟。其突破性的创意曾引起设计和教育各界的关注和热议，治愈的停格动画、魔性的排版之歌等，更让世界各地孩子都喜爱有加。