阿诺德是学校里的风云人物，前途似锦。帮助学生作弊的地下公司看中了阿诺德的才华，向他递出了沾满油水的橄榄枝。与此同时，学校和周围社会的接连变化，在阿诺德的世界里掀开阵阵涟漪，令人目不暇接。陈哲艺监制，泰国新锐导演索拉育·博拉帕斑用犀利和幽默的镜头语言，审视和切开了泰国新时代不容小觑的一角。

阿诺德是学校里的风云人物，前途似锦。帮助学生作弊的地下公司看中了阿诺德的才华，向他递出了沾满油水的橄榄枝。与此同时，学校和周围社会的接连变化，在阿诺德的世界里掀开阵阵涟漪，令人目不暇接。陈哲艺监制，泰国新锐导演索拉育·博拉帕斑用犀利和幽默的镜头语言，审视和切开了泰国新时代不容小觑的一角。

在老家克里夫兰的演出中，大卫·A·阿诺德分享了不为人知的家庭趣事，笑谈婚姻中的小摩擦和娇生惯养的孩子们。

夜色沉沉之中，人偶师阿诺德·克雷伯格开启了一场又一场的自制木偶喜剧。木偶剧的三个小主角，裘克、里奥，班恩在舞台上会一起踢足球，做料理，偶尔也会你追我赶的打闹。每天上演着他们异想天开但充满快乐的庄园日常。

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived. (Written by Guy Bellinger, from IMDB)

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived. (Written by Guy Bellinger, from IMDB)

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

“What makes Einleitung, in the words of its authors, a ‘film of agitation’, is perhaps the order in which it exposes things, the time it takes to restitute these images for what they are: images taken from the point of view of U.S. power, taken on the other side. This consists in cleansing the images of any sense of déjà vu, making them produce (sweat out, reveal, chase) the power which willed them into being and which wants us not even to find them surprising. From that moment, the horror is no longer the eternal return of the same in the guise of the same old thing (retro style) but the intolerable present (Holger Meins, 1975).” Serge Daney

可可（梅雷特·贝克尔 Meret Becker 饰）和男友卡洛斯（托马斯·海因茨 Thomas Heinze 饰）相恋多年，两人终于决定携手步入婚礼的殿堂。可可对这场婚礼期盼已久，可是卡洛斯却无法完全的投入其中，因为他有了一个需要向可可隐瞒的秘密，那就是他非常非常糟糕的经济状况。 　　帕蒂（詹妮特·海因 Jeanette Hain 饰）是可可的好友，在瑜伽课上，她邂逅了瑜伽老师安迪（弗洛里安·大卫·菲茨 Florian David Fitz 饰），很快，两人之间便碰撞出了激情的火花，帕蒂开始了一段地下恋情。安迪也有着自己的秘密，而他的秘密好巧不巧的被可可的助手薇拉（艾琳娜·莱辛 Alina Levshin 饰）给撞破了。

可可（梅雷特·贝克尔 Meret Becker 饰）和男友卡洛斯（托马斯·海因茨 Thomas Heinze 饰）相恋多年，两人终于决定携手步入婚礼的殿堂。可可对这场婚礼期盼已久，可是卡洛斯却无法完全的投入其中，因为他有了一个需要向可可隐瞒的秘密，那就是他非常非常糟糕的经济状况。 　　帕蒂（詹妮特·海因 Jeanette Hain 饰）是可可的好友，在瑜伽课上，她邂逅了瑜伽老师安迪（弗洛里安·大卫·菲茨 Florian David Fitz 饰），很快，两人之间便碰撞出了激情的火花，帕蒂开始了一段地下恋情。安迪也有着自己的秘密，而他的秘密好巧不巧的被可可的助手薇拉（艾琳娜·莱辛 Alina Levshin 饰）给撞破了。