In his interview on Facet Video's DVD of Diary of a Suicide (Le journal d'un suicidé), Serbian director Stanislav Stanojevic mentions a French arts body that dispenses funds for creative filmmaking, and remarks that Luis Buñuel received more money than he did! This early 70s art film depends for its reputation on a quote by François Truffaut, who may have not seen the film, but had high praise for its screenplay. 　　Diary of a Suicide plays very much like a brief episode in a Buñuel film, but padded to feature length and communicating little beyond a vague nihilism. Busy actor Sami Frey is a handsome young man on a pleasure cruise on the east coast of Spain. He flirts with an attractive fellow passenger (Delphine Seyrig). Neither is given a name. No matter how much the man coaxes, the woman refuses to remove her sunglasses. They visit a church in Barcelona but mostly talk on board ship while watching seagulls. 　　The smiling woman encourages the young man to entertain her with a beautiful story. He responds with several morbid, interlinked anecdotes. A man (Bernard Haller) stands before a mirror, unable to make himself smile. Another man faces a firing squad. Anarchist lovers (Marie-France Pisier & Roland Bertin) fail to carry out an assassination. Wounded, she wants to die but is given a life sentence. Her jailer (Sacha Pitoëff) cannot sleep because he was brain-damaged in a war. That infirmity allows him to watch his prisoner around the clock. The jailer explains that his mind holds only one memory, of a beautiful woman he once knew. Should he forget her as well, the jailer reasons, his life will no longer have a purpose. 　　The female cruise passenger seems pleased by the young man's efforts to seduce her, but she has withheld a wicked surprise. 　　Unfortunately, Diary of a Suicide is a weak and uninvolving slice of mannered filmmaking. Scenes with the two main actors seem arbitrary and haphazard. Many of their encounters are staged against blank walls, and some dialogue scenes avoid showing lips, as in the cheapest of post-dubbed low-budget productions. Except for a few color inserts, all of the shipboard scenes are in B&W. Some of the young man's stories are tinted in various hues. The compositions are rarely framed wider than a medium shot, producing a feeling of claustrophobia. 　　With its nameless lovers and stories within stories, director Stanojevic's puzzle picture is more than a little reminiscent of Alan Resnais' Last Year at Marienbad, minus that film's elegance and compelling dreamlike surface. Little tension develops between the shipboard reality and the man's bizarre stories. A melancholy singer performing aboard the ship appears to represent the mystery woman of the jailer's tale. The singer's actor-husband dresses similarly to the jailer, and carries out the jailer's suicide as part of his act. With the exception of Sacha Pitoëff's morose jailer, none of the story characters connect with the audience. The gaunt, sad jailer truly looks like a man haunted by his loss of memory. 　　Stanislav Stanojevic's main coup for his first film is the gathering of an impressive cast. He's secured the services of Seyrig and Pitoëff, two of the stars of Last Year at Marienbad. Sami Frey and Marie-France Pisier have appeared in films by Agnès Varda, Georges Franju, William Klein, Jean-Luc Godard, H.G. Clouzot, François Truffaut, Alain Robbe-Grillet, Luis Buñuel and Jacques Rivette. 　　Director Stanojevic made two more features blending political themes with aspects of the fantastic. 1979's Subversion is about a country ruled by a paralyzed, blind president and his corrupt daughter. Diary of a Suicide has images of soldiers used as cannon fodder and anarchists dedicated to an assassination, but makes no real political statement. Its final twist is indeed a surprise, but an almost pointless one. 　　Facets Video's DVD of Diary of a Suicide is an acceptable flat transfer with English subtitles. For an extra we're given a lengthy video interview with the director. Stanojevic doesn't discuss Diary at length, preferring to give an unfocused talk about film funding and filmmaking in general.

地处山阴处的小型港口城市上终市，刚刚上了年纪的千代（高桥惠子 饰）独自经营着从过世母亲那里继承下来的面包店。小店人星寥落，平日里登门的也只有患有自闭症的送奶工奥田青年（深谷健人 饰）)和镇公所福利科的须藤（水上龙士 饰）。不知从何时起，小镇的访客逐渐多了起来，而他们的最终目的地只有一个：小店另一边那曾葬送了无数条性命的悬崖。这些一心求死之人，在死亡那一刻到来前总会从千代的店里买来面包和牛奶，似乎是在成全他们最后的晚餐。而千代即使明知他们会自杀也从不劝阻，只在最后从悬崖边捡回他们的鞋子送给别人。连番的自杀事件惊动了当地政府，为免城市形象受损，政府叮嘱市民要尽力劝阻企图自杀的人群。千代虽然点头应允，心中却深感疑惑，而这一切还要追溯到她那难忘的童年岁月……

舒奇是一个天生的赌徒，到澳门赌钱，每次都大起大落，因为有一次糊里糊涂与艺员雪发生了关系，得到三千块，后在投注站买马赢了十五万，他便往卡拉OK消遣，认识了逢赌必输、有一个「玻璃骨」症弟弟的妈妈桑——公主。因为欠债，舒奇被禁锢，公主于是致电卡拉OK熟客莫UNCLE求助，莫UNCLE答应了付五十万，但要公主陪他一个月。之后莫UNCLE突然离奇死亡。混乱中，两人在债主FACE哥手中逃出，不久，却再次遇到莫UNCLE，原来他没有死去……

舒奇是一个天生的赌徒，到澳门赌钱，每次都大起大落，因为一次糊里胡涂与艺员雪发生关系，得到三千块，后投注站买马赢了十五万，他便往卡拉OK消遣，认识了逢赌必输、有一个「玻璃骨」症弟弟的妈妈桑——公主。 　　因为欠债，舒奇被禁锢，公主于是致电卡拉OK熟客莫UNCLE求助，莫UNCLE答应了付五十万，但要公主陪他一个月。之后莫UNCLE突然离奇死亡。混乱中，两人在债主FACE哥手中逃出，不久，却再次遇到莫UNCLE，原来他没有死去……

讲波佬钟仔将细鬼因贪念而死在母亲兰寿宴上的故事告诉英超酒吧内各酒客，以警惕他们不要沉迷赌博。可是每天还是有人向他索取，令他极为反感，一次更因不胜其烦乱中押中了一只必败球队，从此被人奉为波神.英超老板车仔因生意不佳而兼职替赌球杂志波经写文章,由于过分投入，其妻波波提出离婚。对足球一窍不通的榕榕，乐乐和芳芳都来凑热闹，不料意外大获全胜。

讲波佬钟仔将细鬼因贪念而死在母亲兰寿宴上的故事告诉英超酒吧内各酒客，以警惕他们不要沉迷赌博。可是每天还是有人向他索取，令他极为反感，一次更因不胜其烦乱中押中了一只必败球队，从此被人奉为波神.英超老板车仔因生意不佳而兼职替赌球杂志波经写文章,由于过分投入，其妻波波提出离婚。对足球一窍不通的榕榕，乐乐和芳芳都来凑热闹，不料意外大获全胜。

那时，吉列·卡伦（Gilles Caron）正处在摄影记者的职业生涯顶峰，然而在1970年，他突然在柬埔寨消失，年仅30岁。在之前的六年时间，他是那个时代的主要见证者之一，为最重要的杂志供稿，其中就包括第三次中东战争，68事件，北爱尔兰的冲突和越南战争报道。 　　当导演玛丽安娜·奥特罗（Mariana Otero）发现卡伦的作品时，其中一张照片引起了她的注意，因为这恰恰呼应了卡伦自己的故事：一个珍贵的人才消失，却只留下了一段段影像等人解密。她深入研究卡伦100,000张照片，重新将卡伦带入世人眼中，并呈现她眼中独特的卡伦形象。

For Lor Sabourin, climbing is more than a sport; it’s a way of exploring identity and building resilience in the face of adversity. They/Them follows Lor, a trans climber, into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life. By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like themself can call home.