暂无剧情简介

暂无剧情简介

改编自金面包作家的网络小说《明天的第一》，讲述为了拯救悲剧结束人生的顶级明星，他的热血粉丝逆转时间回到2008年的故事。灿烂时期，重新相遇的两位年轻人克服命运的奇幻爱情喜剧。

是一部浪漫剧，讲述了遗憾地结束人生的顶级男明星和为了救他而回到过去的女人的故事。改编自金面包作家的网络小说《明天的第一》。

Mary Maloney is a devoted wife and an exceptional housekeeper. One day, her husband, the police chief, announces that he wants a divorce because he has met another woman. Mary is quite angry and kills him with a blow from a frozen leg of lamb. She calls the police and provides and alibi for herself with the story that she'd been out to the store when the murder took place. The investigating officer, Lieutenant Noonan, is further frustrated when he cannot to find the murder weapon. Knowing of the long and hard hours spent looking into the case, Mary invites Noonan and the other investigators for a bite to eat. They dig into Mary's leg of lamb and Noonan still thinking about the missing murder weapon says "For all we know, it might be right under our very noses."

Mary Maloney is a devoted wife and an exceptional housekeeper. One day, her husband, the police chief, announces that he wants a divorce because he has met another woman. Mary is quite angry and kills him with a blow from a frozen leg of lamb. She calls the police and provides and alibi for herself with the story that she'd been out to the store when the murder took place. The investigating officer, Lieutenant Noonan, is further frustrated when he cannot to find the murder weapon. Knowing of the long and hard hours spent looking into the case, Mary invites Noonan and the other investigators for a bite to eat. They dig into Mary's leg of lamb and Noonan still thinking about the missing murder weapon says "For all we know, it might be right under our very noses."

Korean stand-up comic Yoo Byungjae offers his take on philosophy, sex and childhood memories.

Korean stand-up comic Yoo Byungjae offers his take on philosophy, sex and childhood memories.

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.