In an unexplored vault in Belgrade, the capital of the former Yugoslavia, lies a collection of films known as “the Labudović Reels.” On them are images of African and Asian liberation movements and revolutionary leaders that defined the era of the 1960s. How is it that the archive of these revolutions lies on another continent, forgotten in a film archive? The answer to this question takes us into the story behind the images, on an intimate voyage with the man who filmed them. 　　As the cameraman of Yugoslav president Tito, Stevan Labudović captured an era of politics, personality and promise, filming the birth of the Non-Aligned Movement. Sent on missions by the President to film liberation wars, he would play a key role in the information battles that defined the era of decolonization. Together with Ciné-Guerillas, this film diptych examines the legacy of these extraordinary archives, seeking to project their political vision forward. 　　Non-Aligned re-traces the birth of the Non-Aligned Movement during the era of decolonization, and the personalities who defined it, examining how cinema gave expression to their political dream. 　　源自：https://www.idfa.nl/en/film/39f5e864-4439-413a-b67c-d3f7e1cf818b/non-aligned-scenes-from-the-labudovi%C4%87-reels

What do the Algerian war of liberation and Yugoslavia have in common? Stevan Labudović. In 1959, Tito himself sent his favourite cinematographer to Algeria. The resistance against the French colonial rule needed the eyes of the world, and the experienced partisan Labudović helped open them: His images gave the lie to the propaganda of the occupiers and their Western allies. This is a portrait of the man, the mission and the age – as film, ideological and personal history. 　　For three years, until the Democratic Republic of Algeria was proclaimed, Labudović put himself and his camera at the service of the people fighting for independence. Mila Turajlić found the newsreel footage shot at the time in the Filmske Novosti archive in Belgrade, got in touch with the aged pensioner and followed his trail. From a wealth of archive material, diary entries by and interviews with Labudović, with contemporary witnesses from Yugoslavia, Algeria and New York, where the young Maghreb state, like many other former colonies, struggled for admission to the United Nations, she distils the promising origins of an alliance that stood at the beginning of the Non-Aligned Movement, which was to oppose the dichotomy of the superpowers. Thus the bow to her compatriot also gains global political topicality.

吉米的父親是一個冷戰時期駐守台灣的美國黑人，吉米單親混血兒的背景加上他變裝皇后的身分，使得他一直在台灣社會邊緣遊走，卻有其獨特的生活方式。

Au cours d’un trop long été, Jimmy, un enfant de 13 ans que les circonstances forcent à devenir trop vite adulte, se cogne aux limites de sa petite ville et de sa vie heurtée, entre une mère à la dérive et un beau-père qui la tient sous sa coupe.

A failed New Jersey inventor embarks on a career as a standup comic, turns to drink, and labors to keep his family together

一对 70 年代的自由情侣引诱另一对情侣尝试双性恋和群交。 　　拉德利·梅茨格执导的一部情色电影，是首先探讨两性关系的影片之一。影片基于一部非百老汇舞台剧剧本，该剧曾于1971年10月28日到11月15日之间在马提尼克剧院上演28次。舞台剧版的编剧是杰里·道格拉斯，后来他也成为电影版的主要编剧。影片场景设定在虚构、优雅的房屋中，影片的预算在当时的独立电影中是比较高的。

Liberated '70s couple seduce another couple into experimentation with bisexuality and group-sex.

克里斯汀和父母道别准备展开期待已久的大学生活，却在一门课上总是只拿到C的分数，某天她穿上俏丽洋装和教授打招呼，作业上开始出现A。然而克里斯汀拒绝与她的教授发生关系来继续换取好成绩，事情愈演愈烈，女孩们陷入危险，她们试图求救……

故事背景受30年来新西兰街头黑帮的真实故事的启发，讲述萨维奇在丹尼从一个男孩成长为一个帮派的暴力执行者的过程中，经历了生命中的三个反抗时刻。