讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。

吴昊昊采访自己电影学院各个系的同学，对自己的电影学院进行批判。 　　Haohao Wu interviewed some of the classmates in the film academy and criticized the film academy.

タイでは、近代化の進んだ今もブッダ時代の仏教の伝統が脈々と生きている。しかし、それは19世紀、西洋列強による植民地化に対抗するため、国王によって再発見されたものだった。短期の出家をした会社員を軸に、タイの人々の中に生きる仏教を描く。

In this fascinating documentary, historian Bettany Hughes travels to the seven wonders of the Buddhist world and offers a unique insight into one of the most ancient belief systems still practised today. 　　Buddhism began 2,500 years ago when one man had an amazing internal revelation underneath a peepul tree in India. Today it is practised by over 350 million people worldwide, with numbers continuing to grow year on year. 　　In an attempt to gain a better understanding of the different beliefs and practices that form the core of the Buddhist philosophy and investigate how Buddhism started and where it travelled to, Hughes visits some of the most spectacular monuments built by Buddhists across the globe. 　　Her journey begins at the Mahabodhi Temple in India, where Buddhism was born; here Hughes examines the foundations of the belief system - the three jewels. 　　At Nepal's Boudhanath Stupa, she looks deeper into the concept of dharma - the teaching of Buddha, and at the Temple of the Tooth in Sri Lanka, Bettany explores karma, the idea that our intentional acts will be mirrored in the future. 　　At Wat Pho Temple in Thailand, Hughes explores samsara, the endless cycle of birth and death that Buddhists seek to end by achieving enlightenment, before travelling to Angkor Wat in Cambodia to learn more about the practice of meditation. 　　In Hong Kong, Hughes visits the Giant Buddha and looks more closely at Zen, before arriving at the final wonder, the Hsi Lai temple in Los Angeles, to discover more about the ultimate goal for all Buddhists - nirvana.

In this fascinating documentary, historian Bettany Hughes travels to the seven wonders of the Buddhist world and offers a unique insight into one of the most ancient belief systems still practised today. 　　Buddhism began 2,500 years ago when one man had an amazing internal revelation underneath a peepul tree in India. Today it is practised by over 350 million people worldwide, with numbers continuing to grow year on year. 　　In an attempt to gain a better understanding of the different beliefs and practices that form the core of the Buddhist philosophy and investigate how Buddhism started and where it travelled to, Hughes visits some of the most spectacular monuments built by Buddhists across the globe. 　　Her journey begins at the Mahabodhi Temple in India, where Buddhism was born; here Hughes examines the foundations of the belief system - the three jewels. 　　At Nepal's Boudhanath Stupa, she looks deeper into the concept of dharma - the teaching of Buddha, and at the Temple of the Tooth in Sri Lanka, Bettany explores karma, the idea that our intentional acts will be mirrored in the future. 　　At Wat Pho Temple in Thailand, Hughes explores samsara, the endless cycle of birth and death that Buddhists seek to end by achieving enlightenment, before travelling to Angkor Wat in Cambodia to learn more about the practice of meditation. 　　In Hong Kong, Hughes visits the Giant Buddha and looks more closely at Zen, before arriving at the final wonder, the Hsi Lai temple in Los Angeles, to discover more about the ultimate goal for all Buddhists - nirvana.

在长达十多年的分别后，诺曼，这部影片的导演，在内心的驱使下，回到了他的故乡基布兹去拯救他的儿时伙伴扎克，彼时扎克正处于孤僻残疾也不愿意配合治疗的状态。诺姆设计了一项持续且高强度的训练计划，准备帮助扎克重新跑起来，至少能够更轻松的运动。 　　这是一段关于两个男人间感人而有趣的友谊，其间他们努力改变他们的生活并和自身充满负面情绪的过去说再见的故事。 　　After a separation of more than a decade, Noam, the conscience-ridden director of the film, returns to the kibbutz where he grew up to save Zack, his childhood friend who has become a reclusive handicapped refusing rehabilitation. Noam devises a consistent and exhausting training routine with the aim of helping Zack run again or at least move more easily. 　　A touching and humorous friendship between two men who try to change their lives and fight their relentless emotionally charged past. 　　 　　2012以色列特拉维夫国际纪录片电影节竞赛单元 / Official Selection of Doc Aviv Int’l Documentary Film Festival Competition, Tel Aviv, Israel, 2012. 　　 　　诺曼在2000到2007年间，一直作为录音师和声音剪辑师。而在2004到2012年间，一直在以色列多家大学担任讲师或录音师。 　　他的作品有：《阿拉维爸爸的精彩王国》（纪录片，绿房子发展项目，2012，制作中）；《像阿维一样》（纪录片，52分，Yes Docu新电影电视基金，2012，制片人，制作中）；《乐天派与佛教徒》（纪录片，50分，以色列第二电视管理局，Makor基金会，2012特拉维夫纪录片节）； 　　《我在印度看到长颈鹿》（纪录片，75分，八频道，2009特拉维夫纪录片节，2011华沙电影节，2009）；《行走的男人》（纪录片，最佳剪辑奖与二等奖，2009以色列纪录片挑战奖，2009）； 　　《鹰嘴豆咖喱》（纪录片，58分，八频道，2007耶路撒冷国际电影节,2008华沙电影节）。 　　Noam Pinchas, as Sound editor and designer, dB Studios from 2000 – 2007, as Lecturer, sound design for film, various colleges in Israel from 2004 – 2012. 　　2012 (In production) – 'The wonderful kingdom of Papa Alaev', Documentary, Greenhouse development program. 　　2012 (In production, Producer and Co-writer) – 'Being like Avi', Documentary (52 min), Yes Docu, New fund for Cinema and Television 　　2012– 'The Optimist and the Buddhist', Documentary (50 min), Israel's 2nd Authority for Television, Makor Foundation, Doc Aviv FF 2012 　　2009 – 'I saw Giraffes in India', Documentary (75 min), Channel 8, Doc Aviv FF 2009, Warsaw JFF 2011 　　2009 – 'The Walking Man', Documentary, Israel 2009 Doc Challenge, winner of best edit award and second prize award 　　2007 – 'Hummus Curry', Documentary (58 Min), Channel 8, Jerusalem JFF 2007, Warsaw JFF 2008

由一则男友陈放的策展报道引爆的隐离婚事实，让南飞备受“小三”舆论围剿，更由于陈放在家庭责任与爱人名分之间两难选择而导致南飞单方面提出分手，投奔上海婚期将近的闺蜜齐家宜，不料正撞上闺蜜的临阵悔婚，助其“解套”短暂婚姻之后，两人联名买房，缔结闺蜜同盟。为了躲避父母催婚，在齐家宜的“拉郎配”下，患有抑郁症的华尔街海归邻居焦岳与南飞组成临时假情侣。不料蒙在鼓里的双方父母轮番上阵逼婚大战，不明真相千里追爱的陈放与以男闺蜜自居实则暗恋南飞多年的凌骄阳也化敌为友联手对焦岳开展“鉴渣”行动，由此引发了一系列啼笑皆非的误会……

因一则陈放的策展报导，无意间抖出南飞（宋茜 饰）与陈放（陆毅 饰）的各自前史，选择隐离婚的陈放，让南飞冠以“小三”被众人谴责与诬蔑，南飞有口难辩…