In an unexplored vault in Belgrade, the capital of the former Yugoslavia, lies a collection of films known as “the Labudović Reels.” On them are images of African and Asian liberation movements and revolutionary leaders that defined the era of the 1960s. How is it that the archive of these revolutions lies on another continent, forgotten in a film archive? The answer to this question takes us into the story behind the images, on an intimate voyage with the man who filmed them. 　　As the cameraman of Yugoslav president Tito, Stevan Labudović captured an era of politics, personality and promise, filming the birth of the Non-Aligned Movement. Sent on missions by the President to film liberation wars, he would play a key role in the information battles that defined the era of decolonization. Together with Ciné-Guerillas, this film diptych examines the legacy of these extraordinary archives, seeking to project their political vision forward. 　　Non-Aligned re-traces the birth of the Non-Aligned Movement during the era of decolonization, and the personalities who defined it, examining how cinema gave expression to their political dream. 　　源自：https://www.idfa.nl/en/film/39f5e864-4439-413a-b67c-d3f7e1cf818b/non-aligned-scenes-from-the-labudovi%C4%87-reels

In an unexplored vault in Belgrade, the capital of the former Yugoslavia, lies a collection of films known as “the Labudović Reels.” On them are images of African and Asian liberation movements and revolutionary leaders that defined the era of the 1960s. How is it that the archive of these revolutions lies on another continent, forgotten in a film archive? The answer to this question takes us into the story behind the images, on an intimate voyage with the man who filmed them. 　　As the cameraman of Yugoslav president Tito, Stevan Labudović captured an era of politics, personality and promise, filming the birth of the Non-Aligned Movement. Sent on missions by the President to film liberation wars, he would play a key role in the information battles that defined the era of decolonization. Together with Ciné-Guerillas, this film diptych examines the legacy of these extraordinary archives, seeking to project their political vision forward. 　　Non-Aligned re-traces the birth of the Non-Aligned Movement during the era of decolonization, and the personalities who defined it, examining how cinema gave expression to their political dream. 　　源自：https://www.idfa.nl/en/film/39f5e864-4439-413a-b67c-d3f7e1cf818b/non-aligned-scenes-from-the-labudovi%C4%87-reels

What do the Algerian war of liberation and Yugoslavia have in common? Stevan Labudović. In 1959, Tito himself sent his favourite cinematographer to Algeria. The resistance against the French colonial rule needed the eyes of the world, and the experienced partisan Labudović helped open them: His images gave the lie to the propaganda of the occupiers and their Western allies. This is a portrait of the man, the mission and the age – as film, ideological and personal history. 　　For three years, until the Democratic Republic of Algeria was proclaimed, Labudović put himself and his camera at the service of the people fighting for independence. Mila Turajlić found the newsreel footage shot at the time in the Filmske Novosti archive in Belgrade, got in touch with the aged pensioner and followed his trail. From a wealth of archive material, diary entries by and interviews with Labudović, with contemporary witnesses from Yugoslavia, Algeria and New York, where the young Maghreb state, like many other former colonies, struggled for admission to the United Nations, she distils the promising origins of an alliance that stood at the beginning of the Non-Aligned Movement, which was to oppose the dichotomy of the superpowers. Thus the bow to her compatriot also gains global political topicality.

What do the Algerian war of liberation and Yugoslavia have in common? Stevan Labudović. In 1959, Tito himself sent his favourite cinematographer to Algeria. The resistance against the French colonial rule needed the eyes of the world, and the experienced partisan Labudović helped open them: His images gave the lie to the propaganda of the occupiers and their Western allies. This is a portrait of the man, the mission and the age – as film, ideological and personal history. 　　For three years, until the Democratic Republic of Algeria was proclaimed, Labudović put himself and his camera at the service of the people fighting for independence. Mila Turajlić found the newsreel footage shot at the time in the Filmske Novosti archive in Belgrade, got in touch with the aged pensioner and followed his trail. From a wealth of archive material, diary entries by and interviews with Labudović, with contemporary witnesses from Yugoslavia, Algeria and New York, where the young Maghreb state, like many other former colonies, struggled for admission to the United Nations, she distils the promising origins of an alliance that stood at the beginning of the Non-Aligned Movement, which was to oppose the dichotomy of the superpowers. Thus the bow to her compatriot also gains global political topicality.

墨西哥警察加尔萨（奥马尔·查帕罗 Omar Chaparro 饰）被迫与17 的美国黑客维克（乔伊·摩根 Joey Morgan 饰）组成拍档，一起调查杀害妻子的凶手，并破坏他的其他犯罪计划……

《胶片的证据》是一部以“专门处理一些警察局不立案的小案件的民间科学研究所”为舞台的悬疑漫画。调查员流田缘运用科学技术处理各种各样的琐碎案件，比如说外遇 调查、为被怀疑是色狼的人证明清白等。 http://www.solo09.com

通过一对祖孙打猎的剧情，探讨不同年龄段的人在面对一件事的不同态度，以及其中的救赎与罪恶。孙子的情感从喜欢到害怕，再到拒绝、绝望，最终的一声枪响将会给他的人生带来怎样的改变？

讲述孙子和爷爷去打猎的故事，探讨了两个年龄段的人在处理一件事的态度和救赎与罪恶的关系，孙子的情感从喜欢到害怕到拒绝到绝望的变化，最后的一声枪响将会给他人生带来怎样的影响。

当千春知道了即将结婚的妹妹·千香要在老家同居的想法之后，感到生活尴尬的千春，寄居到了偶然相识的过着单身生活的春子家里！？于是两个年龄、性格、成长环境截然不同的单身女性开始了她们奇妙的同居生活！两人颇具节奏感的斗嘴也是本剧看点！时而吵架，时而互帮互助，两人都在寻找着各自的生活方式，并逐渐发现属于自己的答案……。为了工作、恋爱、结婚而挣扎，她们的人生由此开始启动！

当千春知道了即将结婚的妹妹·千香要在老家同居的想法之后，感到生活尴尬的千春，寄居到了偶然相识的过着单身生活的春子家里！？于是两个年龄、性格、成长环境截然不同的单身女性开始了她们奇妙的同居生活！两人颇具节奏感的斗嘴也是本剧看点！时而吵架，时而互帮互助，两人都在寻找着各自的生活方式，并逐渐发现属于自己的答案……。为了工作、恋爱、结婚而挣扎，她们的人生由此开始启动！