1998年，美国酷儿实验电影先驱芭芭拉・汉默在一个没水没电的荒野小屋驻村。在那里一个月的时光，她拍片、录制声音、书写日记。十年后，正在面对死亡的她将这些内容交给了琳恩・萨克斯，并邀请她以此制作一部电影。萨克斯以自己的方式探索汉默这一个月的孤独时光，并透过文字将不同层次的 时空凝结在一起。 　　In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. While there, she shot film, recorded sounds and kept a journal. In 2018, Barbara began her own process of dying. She gave all of her material from the residency to filmmaker Lynne Sachs and invited her to make a film. Through her own filmmaking, Lynne explores Barbara’s experience of solitude. Her text on screen brings us all together in multiple spaces and times.

1998年，美国酷儿实验电影先驱芭芭拉・汉默在一个没水没电的荒野小屋驻村。在那里一个月的时光，她拍片、录制声音、书写日记。十年后，正在面对死亡的她将这些内容交给了琳恩・萨克斯，并邀请她以此制作一部电影。萨克斯以自己的方式探索汉默这一个月的孤独时光，并透过文字将不同层次的 时空凝结在一起。 　　In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. While there, she shot film, recorded sounds and kept a journal. In 2018, Barbara began her own process of dying. She gave all of her material from the residency to filmmaker Lynne Sachs and invited her to make a film. Through her own filmmaking, Lynne explores Barbara’s experience of solitude. Her text on screen brings us all together in multiple spaces and times.

这是二十四段每秒二十四格的电影真理，也是馈赠给世人的遗愿纪念。伊朗电影大师阿巴斯在静态摄影与动态影像之间，百转千回、细细探寻，也搭建起两种艺术表现形式间的关联。下起雪来白茫茫一片的林地，炊烟袅袅升起的村屋，鸟儿振翅飞过原野，鹿与牛缓步迁徙横越，世间万物在阿巴斯灵动诗意的凝视中，每一个按下快门瞬间的之前与之后，都随着景框里的窗框树影摇曳，天马行空地流转时光，在影格与影格之间，梳理电影的本质。 　　“电影始于葛里菲斯，止于阿巴斯。”这是法国新浪潮大导演高达对阿巴斯电影美学的赞誉。从摄影出发，拓延影格之间的空隙，《24格》发想自阿巴斯个人收藏的照片，历经三年的时间与伊朗技术团队合作，运用数位影像工具，以3D动画、摆拍的方式，重新想像这些画面的前世今生，与其创造出来的情感触动。摄影与电影之间反覆且亲密的追寻与叩问，一曲温柔而绵长的影像诗。

This short piece by Athina Rachel Tsangari, commissioned for the seventieth edition of the Venice Film Festival in 2013, draws on Jean-Luc Godard’s CONTEMPT and functions as a meditation on the state of cinema, depicting two film projectors contemplating the uncertainty of their future.

Sofía, a young journalist immersed in making an artistic documentary about the Chilean army, goes back to live with her grandmother after a breakdown in a relationship. There she meets María, a woman whose view of the military legacy contrasts with that of her grandmother, reflecting the tensions of a country marked by its history.

Sofía, a young journalist immersed in making an artistic documentary about the Chilean army, goes back to live with her grandmother after a breakdown in a relationship. There she meets María, a woman whose view of the military legacy contrasts with that of her grandmother, reflecting the tensions of a country marked by its history.

This short piece by Athina Rachel Tsangari, commissioned for the seventieth edition of the Venice Film Festival in 2013, draws on Jean-Luc Godard’s CONTEMPT and functions as a meditation on the state of cinema, depicting two film projectors contemplating the uncertainty of their future.

昏暗的摄影棚内，知名导演正在为恐怖版《1001夜》电影进行选角面试，不同身形、年龄的女性一一站在镜头前，跟着导演的引导对谈并即兴表演。当话题深入个人，语调随之加重，不经意的窥探似乎别有用心，循序渐进的「特别」指导早已越线，逐渐失控，而征选却仍在继续。每个直视镜头的仿徨脸孔，身陷其中的究竟是戏还是计？