Alice and Tommaso have been together for many years. When they invite their friends to dinner, everyone thinks they'll announce they're getting married. Instead, they are breaking up. 　　Venetian Nights 2021

动物学家露西·库克用镜头带领我们前往一次奇幻旅程，见证不同动物出生的时刻。在这里，我们能看到哺乳动物从母亲的身体中来到世界，第一次自由呼吸，第一次睁开双眼打探新奇的世界，第一次站立，第一次喝奶，第一次啼哭；也能看到卵生动物挣脱束缚，破壳而出。在这里，我们能看到动物的母亲与孩子之间强烈的情感纽带，也能看到人类与动物之间的信任与感激。生命的力量让人感动，让人热泪盈眶。

중년의 대학교수가 초등학생 아들을 데리고 이혼한 아내의 집을 찾는다. 교수의 전처는 이혼 후 커밍아웃을 하고 레즈비언 파트너와 동거 중이다. 보호자 역할을 교대하는 과정에서 교수는 전처의 파트너와 단 둘이 남게 된다.

《岁月的童话》又名《儿时的点点滴滴》，是由吉卜力工作室出品，高畑勋导演、宫崎骏监制的日本动画电影，这个纪录片详尽纪录了电影创作过程。

《岁月的童话》又名《儿时的点点滴滴》，是由吉卜力工作室出品，高畑勋导演、宫崎骏监制的日本动画电影，这个纪录片详尽纪录了电影创作过程。

制作这部电影的Henrik Lundø和Jacob Jørgensen追踪了一位曾经飞快讨论学术的害羞的艺术家近五年，试图去理解Olafur的含意，以及他为什么要制造一个改变周围空间从而改变人们心 态的装置。光，空间，意识对于他的工作意义非凡，当这些因素与观察者相遇才发挥他们的效用。Olafur Eliasson利用电影屏幕作为光学辅助利用Vignette相机展示了他的想法，通过多种方式呈现了激励人心的，有趣的，启人心智，令人心旷神怡的效 果。

制作这部电影的Henrik Lundø和Jacob Jørgensen追踪了一位曾经飞快讨论学术的害羞的艺术家近五年，试图去理解Olafur的含意，以及他为什么要制造一个改变周围空间从而改变人们心 态的装置。光，空间，意识对于他的工作意义非凡，当这些因素与观察者相遇才发挥他们的效用。Olafur Eliasson利用电影屏幕作为光学辅助利用Vignette相机展示了他的想法，通过多种方式呈现了激励人心的，有趣的，启人心智，令人心旷神怡的效 果。

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

2008年の夏、日本を席巻したと言っても過言ではない“さかなの子・ポニョ”。その生みの親である宮崎駿監督は、どうやってポニョというキャラクターを思いついたのでしょうか。 　　作品の準備期間から絵コンテが出来上がるまでの約2年半もの間、1台のカメラが宮崎駿監督に密着。