1952年的复活节，在一个省寄宿所里住着六个学生，他们因为各种原因被困在那里。卡迪诺为此设计了一个特别令人兴奋的场景，这是他所珍视的。 　　从食堂到洗澡区，经过厨房、医务室、水槽和午睡时的宿舍，卡迪诺的相机轻盈如微风--卷起短裤，向我们展示了我们所知所喜的学生关系间的特殊宇宙，或者说是我们希望能做到的！ 　　坦率、温柔和任性困扰着他们周围的成年人：园丁、厨师、护士，也许还有神父。 　　你梦想生活在一个年轻学生的世界吗？ 　　好好欣赏这部电影，没有堕落的危险！

Easter 1952. A provincial boarding house, inhabited by six students stuck there for various reasons. 　　Cadinot deals with a particularly exciting subject which is dear to him. 　　From the refectory to the bathing area through the kitchen, infirmary, sinks and the dormitories during siesta, Cadinot's camera, light as a breeze, rolls up its shorts and shows us the universe of particular student bonding that we all know and love... or wish we did! 　　Candor, tenderness and pervisity trouble the adults around them: the gardener, the chef, the nurse and, perhaps as well, the Master. 　　Do you dream of living in a world of young students? Treat yourself to this film without risk of corruption!

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。

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。

啦啦啦德玛西亚第四季《超神学院》.《啦啦啦德玛西亚》是根据目前炙手可热的英雄对战网游《英雄联盟》为故事背景,剧本取材于玩家在游戏中各种喜闻乐见的游戏文化,以幽默,轻松,搞笑的故事风格,真实还原英雄联盟的玩家在游戏中的乐趣和对战生活。

啦啦啦德玛西亚第四季《超神学院》.《啦啦啦德玛西亚》是根据目前炙手可热的英雄对战网游《英雄联盟》为故事背景,剧本取材于玩家在游戏中各种喜闻乐见的游戏文化,以幽默,轻松,搞笑的故事风格,真实还原英雄联盟的玩家在游戏中的乐趣和对战生活。

余力是纵横卫视的金牌制作人，他创办了电视节目史上第一个真正的真人秀节目“女神学院”。为了让女儿成名，余力将女儿月亮送进女神学院，从进入学院的那一刻，月亮一夜成名，进入了全国观众的视线。然而女神学院里所有的人物都是节目组请来的演员，对此月亮全然不知。为了让节目持续火爆，余力绞尽脑汁，甚至主动为月亮安排了一段浪漫的爱情。然而，纸里包不住火，月亮最终知道了真相，感情也受到伤害。于是，她痛哭着逃出了女神学院……

“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)

“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。