The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

故事要从头开始讲，1711年（中国正处于雍正年间），一艘航行于大西洋的船上，炼金术士为了掌握长生不老方法，通过召唤恶魔得到了酿制“不死之酒”的知识。饮用过“不死之酒”的人可以不老不死，但唯一的弱点就是饮用者的右手。为了独占“不死之酒”调合方法的秘密，船上的人开始互相残杀。1930年，美国禁酒令开始禁弛的时代，这瓶恶魔之酒却重现于世。追求长生不老的欲望让人类丑陋的一面再度爆发，纽约街头开始了武士刀、机关枪、炸弹的乱战。“BACCANO”源自意大利语意为“因酒而狂”，这与小说的故事内容非常相衬，在能使人“不老不死”的神酒的诱惑下，谁能笑到最后呢？

中世纪，炼金术士们以巨大的代价从恶魔的手中得到了传说中的永生之酒，凡是喝下永生之酒的人们，正如它的名字那样，将会得到永远不会死亡的肉体。永生之…

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

2006年2月，在图坦卡门国王统治时期的首座坟墓被发现后，大西洋制作公司即对此进行报道。考古队伍发现了七具木乃伊，二十八个密封的储藏罐，一个美丽的金棺材和一些有史以来发现的最迷的文物。他们将揭示一个被遗忘的世界。由于条件恶劣，沙尘暴以及高达150华氏度的气温，考古团队不得不停止挖掘。 2009年，为了检查他们的考古发现，打开4000年前的密封罐，他们再次进入墓穴。他们将解答最大的谜团：被埋在这里的究竟是什么人？扎西·哈瓦斯博士相信这个墓室与图坦卡门国王有关。

方寒与同伴前往归虚历练，一路上战天魔、斩神族，又因挑战仙道魁首太一门的权威被逼入太元仙府，反而因祸得福，修为大涨。逃脱生天之后的方寒恪守本心，护持同门，继续谱写属于自己的热血传说。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.