Two spirited Singaporean seniors in their late fifties trade years of conventional living for a lifetime of adventure as they hit the open road in a van, discovering newfound freedom, unexpected romance, and the joy of living life on their own terms.

A portrait of the American director Jim J. at work on the set of his latest film, Only Lovers Left Alive.

影片以流浪剧团的巡演为背景，通过闪回讲述了希腊1939年梅塔萨克斯将军专制统治到1952年到帕帕戈斯右派将军上台的历史。流浪艺人每一回演出历史剧《牧羊姑娘戈尔芙》都因为政治事件的发生被打断，从而见证历史演变的进程，同时这又成为剧团的素材在下一场的演出所里增加现实的内容。影片通过他们在希腊各地的演出，以他们的所见所闻反映了希腊历史上难忘的岁月，影片开始和结尾都是流浪剧团的演员们站在火车站前，用安哲罗普洛斯的话来说这是“全家福”，是告别往事的终点，也是新的历史的开端，只要有人。历史的戏剧永远开演。

From the creator and director of the critically acclaimed documentary Dark Girls, award-winning filmmaker Bill Duke continues the conversation on colorism with Light Girls. Sharing the untold stories and experiences of lighter-skinned women, Light Girls dives deep into the discussion of skin color, preference, privilege, pain and prejudice. The documentary features interviews with Russell Simmons, Soledad O'Brien, Diahann Carroll, India Arie, Iyanla Vanzant, Michaela Angela Davis, Kym Whitley, Salli Richardson-Whitfield and more.

When an aging college professor confronts two hunters trespassing on his property, he begins an escalating battle of wills that will test his faith in everything he holds dear.

On May 30th, 2020, Uber and delivery driver Caddy searches for his missing son who has been living on the Los Angeles streets during the early days of the pandemic. Along the way, his path crosses that of Harry, a cult leader who is holding a bizarre ceremony up on Mulholland Drive. All the while, news of the horrific murder of George Floyd reverberates around the city and the social fabric collapses.

A lonely bartender has an encounter with a celebrated photographer that changes her life and perceptions dramatically.

A lonely bartender has an encounter with a celebrated photographer that changes her life and perceptions dramatically.

大谷 淳さんの映画が、プラネット＋１で上映されるというので観に行ったのですが、大阪駅には上映の30分前（プラネットは駅から3～4分）に着きながら、チラシにあるマップが悪いのか、方向音痴のこちらが悪いのか――ともかく道に迷ってしまって彼の処女作『Nothｉｎｇ』（’79～’80）という作品は途中からになってしまいました。 　　それでも『Ｆｌｏｏｒ Light』（’84～’87）、『Ｌｅｆｔ ａｎｄ Right』（’89）、『At Night １』（’90）、『床にズームすること』（’92）、『白い部屋 １』（’01）と、念願のほぼ全作品を観ることが出来ました。 　　ぼくも実験映像・個人映像に関わって長い歳月が経ちますが、これほどまでに床や、道路に執着する作家は初めてでしたので、その視点に先ずは驚嘆しました。 　　中でも『Ｆｌｏｏｒ Light』と『At Night １』は素晴らしく、前者では床に映る光が段々と台風が過ぎ去った後の空のように見えてきて忘れることの出来ない映像となりました。後者の夜の道路でも、横断歩道の白と黒との平面が突如立体化して見え、あたかもそこが階段（石段）であるかなような錯覚を起こさせており、これまた忘れえぬショットです。

Inspired by his real life, Harrison Browne’s self-assured directorial debut follows an ex-pro hockey player who time travels back to his pre-transitioned self, when he was waiting for life to begin — only to realize that he has always been the person he was waiting to become.