This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography. 　　One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography. 　　One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

2022年3月31日政府宣布，地球将遭受巨大陨石的撞击。把自己关在家里的人，立即逃跑的人，完全不相信的人，大家的反应因人而异。对于1个月后迫近的陨石冲撞，他们会想着什么，过着怎样的日子呢？5个人各自渡过了自己人生最后的一天。在说再见之前，他们选择的最后的“想做的事情”是…

讲述了解放战争时期，国民党政府为了挽救大溃败的趋势，进行了所谓反走私反腐败的“犁庭扫穴”行动。参与行动的缉私总署侦缉队队长唐景云深入敌后，意外发现走私组织的核心成员竟然是自己的妻子袁淑英。在深入调查的过程中，唐景云被人陷害，成了走私组织和腐败官员的替罪羊。为了洗清妻子的身份污点，为了证明自己的清白，揪出真正的幕后黑手，唐景云打入走私组织内部寻找真相。他以不同的身份周旋于国民党腐败官员、缉私总署与走私组织之间，与妻子袁淑英一起面对各种困难险阻，携手抗敌，历经生死磨难。在困难重重的敌我斗争中，夫妻二人得到了地下党的帮助和支持，逐渐认识到共产党和国民党的区别，最终加入革命队伍，为解放事业贡献了自己的力量。

This stylish chronicle of Morocco’s 1970s revolutionary cinema reconstitutes a vital history nearly lost to the forces of censorship and repression. Through film and newsreel fragments and a jaunty mix of printed matter, Ali Essafi recovers the impassioned output of a generation whose postcolonial flourishing was extinguished by the authoritarian crackdown of King Hassan II. Filmmaker Mostafa Derkaoui, an ongoing subject of Essafi’s research-based practice, appears in a raspy narration, joining a jazz score hip to the era’s transnational liberation movements. Shown in excerpts, Derkaoui’s legendary feature About Some Meaningless Events was created in a moment of buoyant experimentation cut bitterly short, resulting in the director being imprisoned for 11 years. That Essafi’s collective portrait can be seen alongside the earlier film’s recent restoration (and this year’s posthumous publication of Ahmed Bouanani’s landmark historiography of Moroccan cinema) highlights the tenacity of a cultural heritage across generations.

在巴黎学习了五年的Arash觉得不适应法国的生活，决定回到伊朗。他的两个朋友为了让他改变主意，决定带他旅行，穿越法国。