A young filmmaker wants to make a film: a hybrid form between documentary and fiction about friends wanting to make art. The kind professor is fond of the concept and asks the protagonists for their permission. So far, so good. However, soon problems start to pile up. The camera man doubts the screenplay, which he thinks is too heavy on dialogue. One artist is too successful to spare enough time, the other feels like the concept frames her too much as the unsuccessful one. One's own desire to tell and make visible comes into conflict with the desires of others to be seen and not seen. "Why not use actors?" asks the camera man. With a lot of humor and self-irony, Kai Ro Liao tells of complex relationships of the documentary to the truth. 　　源自：https://www.kasselerdokfest.de/en/compilation/p-495bcb32-10d1-3543-b279-43d14a828eba

暂无剧情简介

“Grandma often talks while she is asleep." ”I suspected she went to more places at night than I do.", ”In my impression, grandma always sited on the chair."... The grandson recalls Grandma’s mysterious past. The ancients said, "How can you know death if you don't know life?" Death and life are inherently entangled with each other, and each brings a supporting effect to the other.

暂无剧情简介

The factual film follows British soldier-cameramen Sgt. Mike Lewis and Sgt. Bill Lawrie. In April 1945 they accompanied British troops to what theywere toldwas a typhus hospital in Northern Germany, named Bergen-Belsen. 　　The horrors of the camp were duly revealed to them – and then brought to the attention of the wider world for the first time through their landmark footage.

‘This track is a spoken word piece from my wife, who is a death doula. She works with children who have lost parents and siblings, etc. I recorded it in the car during lockdown as she spoke about the recent passing of her brother.’ (Richie Culver)