2005年圣诞的美国纽约，发生了一起意外爆炸事故，死伤众多。2012年的日本，曾作为新闻记者活跃于JBS电视台报道部的宫部苑子（藤原纪香 饰），由于某些原因丧失了对报道的热忱。然而，苑子从曾经的线人处得到密报，称当时在美国那场事故中失去爱妻的日本籍男子进藤悟史（渡部笃郎 饰）正准备回到日本为当年妻子的意外去世复仇杀人。这一爆炸性的线索再一次燃起苑子狙击独家新闻的目标。苑子与部下野村（永山询斗 饰）一起开始跟踪调查悟史的情况。而悟史除了每天默默的在精肉工场工作，并不与他人接触，这让苑子们认为此人没有可疑，然而野村却发现进藤家里被人安装了盗听器...... 　　事情的真相究竟是什么？苑子能否找出当年事故的起因？

2005年圣诞的美国纽约，发生了一起意外爆炸事故，死伤众多。2012年的日本，曾作为新闻记者活跃于JBS电视台报道部的宫部苑子（藤原纪香 饰），由于某些原因丧失了对报道的热忱。然而，苑子从曾经的线人处得到密报，称当时在美国那场事故中失去爱妻的日本籍男子进藤悟史（渡部笃郎 饰）正准备回到日本为当年妻子的意外去世复仇杀人。这一爆炸性的线索再一次燃起苑子狙击独家新闻的目标。苑子与部下野村（永山询斗 饰）一起开始跟踪调查悟史的情况。而悟史除了每天默默的在精肉工场工作，并不与他人接触，这让苑子们认为此人没有可疑，然而野村却发现进藤家里被人安装了盗听器...... 　　事情的真相究竟是什么？苑子能否找出当年事故的起因？

Lady Mary Lasenby is a spoiled maiden who always gets her way until shipwrecked with her butler, then learns which qualities are really admirable in a person.

Lady Mary Lasenby is a spoiled maiden who always gets her way until shipwrecked with her butler, then learns which qualities are really admirable in a person.

曾两获柏林电影节大奖的俄罗斯导演库唐纳扎洛夫以长达六年的时间磨砺出一部关于一个船长的“沙海史诗”。马拉特在一次海难中幸存，孤身回到马尔克斯笔下的被时间忘却的村庄。大海在那些曾被神明庇护的村民眼前消失了,马拉特要把搁浅的船拉出沙漠，让它回到那遗失的故乡大海。影片用魔幻现实主义手法塑造一个沙海中的西西弗斯，在电影声光电的幻化中谱写了一部动人心魄，震荡灵魂的银幕神话，本片曾入选罗马国际电影节。

曾两获柏林电影节大奖的俄罗斯导演库唐纳扎洛夫以长达六年的时间磨砺出一部关于一个船长的“沙海史诗”。马拉特在一次海难中幸存，孤身回到马尔克斯笔下的被时间忘却的村庄。大海在那些曾被神明庇护的村民眼前消失了,马拉特要把搁浅的船拉出沙漠，让它回到那遗失的故乡大海。影片用魔幻现实主义手法塑造一个沙海中的西西弗斯，在电影声光电的幻化中谱写了一部动人心魄，震荡灵魂的银幕神话，本片曾入选罗马国际电影节。

Three project short films, "Not That", "Hear My Song", "Sad Scene", produced by fashion magazine W Korea on its 10th year anniversary with KT&G saSang Sang Madang. Producers Kang Jina, Woo Moon-gi and Shin Yeon-shick collaborated in it and so did three top actresses (Lee Mi-yeon, Lee Na-young and Krystal) as well as 3 top actors ("Baro", Ahn Jae-hong and Seo Joon-yeong.) 　　Episodes 　　"Hear My Song" (내 노래를 들어줘) 　　"Not That" (그게 아니고) 　　"Sad Scene" (슬픈 씬)

两个年轻人，一个害羞，一个自信，在巴黎度过了一个快节奏的夜晚，试图搭讪小鸡。他们面对一切可能的困难。

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html