It was produced to commemorate the 40th anniversary of Korean Film Archive.

The Phantoms is a television movie inspired by the heart-warming, real-life events surrounding the 2009 New Brunswick provincial championship victory by the Bathurst High School (BHS Phantoms) boys varsity basketball team, a year after a terrible road accident takes the lives of seven players and the coach’s wife. In the following school year, as tragedy hangs over the community, the BHS Phantoms are reconstituted. The ragtag bunch of players gels as a team, and manages to lift community spirit on the long road to the provincial basketball finals.

未来的一个男人反复思索他过去的一件事，这件事的呈现全靠当时的监控和卫星录像。

An intimate, deeply personal film featuring footage Weerasethakul shot of Swinton in and around her family home in Scotland, this overlapping split screen film is inspired by Margaret Tait’s film "Portrait of Ga" and the films of Hitchcock. The work that emerges is a meditative, dreamlike space - a haunting, transformative encounter blending past and present, presence and absence. Presented at the exhibition “Tilda Swinton: Ongoing” at Eye Filmmuseum in Amsterdam.

After searching for a year through the industry archives and an appeal to the public for clips from old TV shows, Paddy McGuinness presents the results in four programmes. In each programme he reunites some well known stars with bits of their early footage that they assumed would never be seen again!

暂无剧情简介

In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.

Delve into a treasure trove of recently unearthed archives to tell a brand new story of Spike Milligan as film, scripts, letters, objects, photographs, recordings, and art all come together to paint a portrait of a comic genius.

Concrete objects and spaces of remembrance are poised against the ephemeral, the unarchivable. We see a sense memory of an archive in the act of destroying itself. The sun magically settles between the crevice of two trees; an obsessive lens roams across broken and partially burned fragments; fire flickers through glass, water, and finally consumes the frame. (Anna Hogg)

After the death of his dad, Michael is powerless and angry. In a state of heartbreak, he confronts the difficult truths about his father’s legacy and the country that shaped him. At the funeral, unannounced and unprepared, Michael decides it is time to speak.