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

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.

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.

这部电影记录了宾夕法尼亚州本地人詹姆斯·斯图尔特在好莱坞的崛起历程，其中包括他凭借《费城故事》获得奥斯卡奖。之后，在第二次世界大战初期，他加入美国陆军航空队，成为一名战斗飞行员。他回国后不久，于1946年出演了卡普拉执导的《生活多美好》。

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。

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。

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