Who were the missing guests at Miss Sophie’s dinner party in the cult New Year’s Eve sketch DINNER FOR ONE? This prequel series takes us back to the teenage years of the birthday girl, when she is forced to marry out of financial necessity. She invites five wealthy bachelors to her castle. Always by her side: her secret lover, James the butler.

Suspecting her boyfriend of cheating on her again, this time she won't let it lie.

亚历克斯是一个优雅的9岁男孩，他的梦想是：有一天当选法国小姐。15年后，亚历克斯失去了父母和自信心，陷入了单调的生活。一次意外将唤醒这个被遗忘的梦…

Parents and health care workers are caught in the cross-hairs of violence and politics as they attempt to protect their children from Polio in Pakistan. Once on the brink of eradication, the disease has again become a global threat - with Pakistan at its epicenter. Will these everyday heroes succeed and end Polio in our lifetime, or will another young generation be at risk?

This short portrait takes an inside look at the artistic inspiration and motivations of Takano Yonen, a Japanese soloist member of the Hong Kong Ballet. As he dances through urban and natural surroundings, he meditates on the influence of his cultural background and his approach to the ritual and language of dance. 　　源自：https://cinedans.nl/movies/402

暂无剧情简介

飞鸟（Non饰）出生于一位天才棋士之家。飞鸟曾与父母三人共度温馨的童年时光，然而某天，父亲却弃她和母亲而去。此后，飞鸟与母亲相依为命，在困苦中挣扎生活。直到某天，母亲病逝，飞鸟彻底陷入孤独。与此同时，那位抛弃了飞鸟的父亲，却在将棋界功成名就，备受瞩目。望着他的身影，飞鸟心中燃起了杀意。复仇的情绪驱使她，在一次事件的驱动下，毅然踏入将棋世界。她立志成为“史上第一位女性棋手”。 　　这是一个被仇恨束缚的女性，通过将棋一步步找回自我、重拾人生的故事。

暂无剧情简介

暂无剧情简介

In Happy New Year, Jinjoon Lee juxtaposes the joy of New Year celebrations with the harsh realities of war and disasters. Combining digital utopias with classical art forms, the installation calls for reflection on the tension between illusion, apathy and our shared reality. 　　Jinjoon Lee’s Happy New Year is an interactive art installation that juxtaposes the festive beginning of a new year with the harsh realities of war, disasters and climate crises. Using a game engine, Lee creates a seemingly utopian landscape, reminiscent of the positive worlds created by artificial intelligence. These serene images show how technology can blind us to urgent and uncomfortable truths, alienating us from current tragedies. 　　Lee combines contemporary technology with traditional art forms such as Korean Chaekgeori (still life paintings of books and objects), Western ‘wonder rooms’ and the Buddhist Wheel of Reincarnation, where heaven and hell and life and death constantly alternate. These references give this fictional world deeper meaning, one in which beauty and decay go hand in hand. With Happy New Year, Lee invites us to reflect on the contradictions of our existence: the longing for utopias versus harsh reality, and the apathy that arises when we ignore that reality.