A must see, this documentary (not be confused with the much longer and comprehensive 2004 biopic) brings us Saïd's last days, prior to his untimely death in 2003. 　　In a twist of fate, a French crew armed with a Betamax recorder spent time with him and his family at the end of his life, offering us an exceptionally intimate look at his (literally) final views and reflections on the themes which dominated his life's work. 　　Based on the ratings and number of votes I saw on this site for the 2004 documentary, I think many users voted for that film, though meaning to judge and actually having seen this one, which continues to have more exposure in the Americas, in the Third World, and most importantly politics aside (as much as that's possible). Both films deserve the excellent rating they boast. Your rating really depends on your interest and attention span. 　　However, this film, at a captivating 54 minutes and with its unique timing has a touch of reality and conciseness that the other one lacks, by mere timeliness and authenticity. This film directed by Emmanuel Hamon has also enjoyed the personal and forceful promotion by him himself, the director, and by the Institute of Arab Culture, throughout Brazil, at least, where I have now accompanied its showing at, two or three more festivals here in less than 9 months. 　　And, NOT just at another Arab Film Festival, or a usual semi annual showing of national performing arts, but a full fledge Mediterranean Festival of dance, music, theater, literature, gastronomy, fashion, children's activities, etc. at over 60 cities and towns in Southeastern Brazil alone. 　　The Israeli Festival, coincidentally, also with excellent films, in much richer if not opulent venues, with Rubin Mehta and Israel Orchestra's, just as a by-the-way factoid, just ended days ago. It was however mostly funded by Jewish and Israeli group, while this one is funded primarily by the Business and Educational Council. The timing was not planned to compete with each other. 　　The various "Mediterranean" groups were on tour throughout the area just now. The "Jewish week" is always around this time, and wa1s planned for months. 　　Yes, Sao Paulo (city) alone is a metropolis of 20 million alone - the state has 40 million, with one of the heaviest and maybe the best succeeded Arab & Syriain-Lebanese immigrant communities anywhere in the world. But, it's almost totally Christian. In fact (though not totally open said), the Arab community here is more in tune with mainstream Israeli politics, than the Orthodox Jews we have here, since they are Arabs, but Christians, and very Orthodox at that, in the best known cases. 　　The Syria, Palestine and Lebanon left behind, and still revered here as the "old land" no longer exists, as these Arab-Brazilians came here to avoid Turkish Ottoman (Muslim) persecution, which ultimately prevailed. 　　But, not insisting so much on local ethnicities and returning to this film, I mist say that in few if any places in the world, can a film like this and others in the Films Section be seen and judged as an Arab film, and not as Muslim culture vs. the Judeo-Christian world Work. 　　And this is truly a film of universal understanding, with national and religious prejudices taking a back seat here. Don't miss it.

《爱德华·蒙克》（Edvard Munch，1863年12月12日—1944年1月23日），挪威表现主义画家和版画家。蒙克作品的强烈精神和感情，对心理苦闷的强烈的、呼唤式的处理手法对20世纪初德国表现主义的成长起了主要的影响。他的作品“呐喊”（挪威语Skr ik，也译作 《尖叫》，作于1893年）被视为后工业现代化的极度痛苦之象征。 　　花絮： 　　彼得·沃特金（Peter Watkins）1974年执导的这部影片记录了挪威表现主义画家爱华德·蒙克的一生，被英格玛·伯格曼评价为“天才之作”。这部影片被认为是表现艺术创作过程的最佳作品之一，它不仅聚焦于蒙克早期循规蹈矩的岁月，还深刻地展现了情感、政治和社会的剧变对他的艺术创作产生的影响。MoC这次发行的是原始的 211分钟电视版本，这也是本片地位和评价最高的一个版本。依彼得·沃特金斯所言，这是他最具个人风格的一部影片。当他被蒙克的画作触动之后，花了三年的时间来说服挪威电视台拍摄这部影片。影片1976年3月在英国BBC电视台播放之后得到评论界的广泛褒扬。《时代》杂志在评论中用到了“催眠”一词，的确，Watkins就像催眠大师一样将观众拖进了1884年的挪威。 　　这部传记影片大致遵循了1884年到1894年的时间顺序，爱德华•蒙克开始表现主义创作并且成为欧洲北部最具争议性、得到最多诽谤的画家。影片回溯了在他五岁的时候母亲死于肺病、其姐姐的死亡以及他自己在13岁的时候也因为肺部疾病差点丧命的经历。影片还回顾了蒙克短暂的爱情以及他在挪威首都和德国柏林参与的一些政治活动。

《爱德华·蒙克》（Edvard Munch，1863年12月12日—1944年1月23日），挪威表现主义画家和版画家。蒙克作品的强烈精神和感情，对心理苦闷的强烈的、呼唤式的处理手法对20世纪初德国表现主义的成长起了主要的影响。他的作品“呐喊”（挪威语Skr ik，也译作《尖叫》，作于1893年）被视为后工业现代化的极度痛苦之象征。 　　这部传记影片大致遵循了1884年到1894年的时间顺序，爱德华·蒙克开始表现主义创作并且成为欧洲北部最具有争议、最多诽谤的画家。影片同时还回溯到在他五岁的时候，母亲死于肺病，其姐姐的死亡以及他自己在13岁的时候因为肺部疾病差点丧命。影片还回顾了，蒙克短暂的爱情以及他在挪威首都和德国柏林参与的一些政治活动。 　　花絮： 　　彼得·沃特金（Peter Watkins）1974年执导的这部影片记录了挪威表现主义画家爱华德·蒙克的一生，被英格玛·伯格曼评价为“天才之作”。这部影片被认为是表现艺术创作过程的最佳作品之一，它不仅聚焦于蒙克早期循规蹈矩的岁月，还深刻地展现了情感、政治和社会的剧变对他的艺术创作产生的影响。MoC这次发行的是原始的 211分钟电视版本，这也是本片地位和评价最高的一个版本。依彼得·沃特金斯所言，这是他最具个人风格的一部影片。当他被蒙克的画作触动之后，花了三年的时间来说服挪威电视台拍摄这部影片。影片1976年3月在英国BBC电视台播放之后得到评论界的广泛褒扬。《时代》杂志在评论中用到了“催眠”一词，的确，Watkins就像催眠大师一样将观众拖进了1884年的挪威。 　　这部传记影片大致遵循了1884年到1894年的时间顺序，爱德华•蒙克开始表现主义创作并且成为欧洲北部最具争议性、得到最多诽谤的画家。影片回溯了在他五岁的时候母亲死于肺病、其姐姐的死亡以及他自己在13岁的时候也因为肺部疾病差点丧命的经历。影片还回顾了蒙克短暂的爱情以及他在挪威首都和德国柏林参与的一些政治活动。

在一个精神病疗养院，新院长爱德华上任，与年轻漂亮的女大夫康斯坦丁一见钟情。但是不久康斯坦丁就发现爱德华是一个冒名顶替的精神病患者。原来是他杀害了爱德华大夫。假爱德华大夫逃离了疗养院，化名为约翰·布朗，康斯坦丁找到布朗，帮助他通过梦境分析，找到他的病因，最后，康斯坦丁把布朗接回疗养院，有情人终成眷属。

精神病院的默奇逊院长即将退休，接手的是年轻有为的爱德华大夫（格利高里·派克 饰）。医院里年轻漂亮的女医生彼特森（英格丽·褒曼 饰）和他相爱，然而竟发现眼前的爱人不是爱德华大夫，而真实的爱德华的秘书，还前来指出这个冒牌人士是杀害爱德华的凶手。面对恋人扑朔迷离的身份，彼特森始终不相信他是杀人凶手，然而默奇逊院长却用精神分析法印证了“事实”。更为棘手的是，这个假爱德华也相信自己有罪，他甚至连自己是谁，经历过的事情也不知道。彼特森对自己的判断非常坚持，她决定要帮他找出事件真相......

The life of Edward VII (1841 - 1910), the King of the United Kingdom. Before becoming the King, he developed a reputation of a playboy, which angered his mother, Queen Victoria. He was a reformer and modernizer, but also an elitist.

精神病院的默奇逊院长即将退休，接手的是年轻有为的爱德华大夫（格利高里·派克 Gregory Peck 饰）。医院里年轻漂亮的女医生彼特森（英格丽·褒曼 Ingrid Bergman 饰）和他相爱，然而竟发现眼前的爱人不是爱德华大夫，而真实的爱德华的秘书，还前来指出这个冒牌人士是杀害爱德华的凶手。 　　面对恋人扑朔迷离的身份，彼特森始终不相信他是杀人凶手，然而默奇逊院长却用精神分析法印证了“事实”。更为棘手的是，这个假爱德华也相信自己有罪，他甚至连自己是谁，经历过的事情也不知道。 　　彼特森对自己的判断非常坚持，她决定要帮他找出事件真相。在警察的追捕下，她带他逃到了心理分析教授的家中，展开了一联串精彩的心理分析过程，他童年的阴影和爱德华大夫被杀的真相渐渐浮出水面。

Edouard is a pianist, married with Caroline. This evening, they are invited to Claude's. Claude is the snobbish uncle of Caroline, his son Alain (as snobbish as his father) is in love with Caroline. They spite Edouard a little because he's poor. At the party, Edouard must play the piano to make himself known by Claude's important acquaintances. But just before leaving, Edouard and Caroline quarrel about clothes, and Edouard goes alone...

影片是根据英国著名戏剧家克里斯多夫．马罗的同名戏剧改编。 　　16世纪的英格兰国王冷落王后，竟然公开地和自己的同性爱人展开种种惊世骇俗的爱恋行为，使得整个王国的统治陷于崩溃，面临瓦解。有先见之明的王后最后使出心狠手辣的毒招，阻止了这场灾难的来临 　　用“高度概念化”来形容这部影片仍不能确切表达它的复杂性。Jarman以现代性别政治的眼光改写了16世纪Christopher Marlowe的戏剧。 　　故事围绕Edward国王公开的同性恋行为展开，并不是发生在奢华的历史环境中，影片场景使用了光秃秃的墙壁，肮脏的地板，演员也身穿时髦装束。Jarman还充分发掘了Marlowe原作中所有同性恋的潜台词，并将其作为表达重点。他使用了原作的对白，但将这个戏剧性的故事与当代对同性恋的压制及同性恋者的抗争混合在一起。影片没有确切的时代，多数时间里各个年代的情形交错在一起。