“给我一些回响吧，无论是一片树叶还是一道石缝。”

这里是迦太基的新区，现代建筑与废弃荒地并存之地，人们在建筑工地的中央发现了看门人的焦尸。Batal和 Fatma负责调查此案，他们决定从邻近码头的工人开始盘问，可很快这起案件就被上面以自焚结案，这种处理让人感到非常绝望。但调查二人组并不接受这个结果，因为他们心中仍有很多疑惑。比如为什么看门人偏偏选择在一个如此隐蔽的场所自焚？因为通常自焚者为了引起大量的社会关注，都会选择在市中心这样的地方进行。几天后，在同一片街区，同样死法的尸体再次出现在了废墟中央，而这一切才刚刚开始……

Rashid, a doctor from Syria, struggles to adjust to his life in Canada after five years in Toronto's Thorncliffe Park with his wife Farah and son Ammar. 　　源自：https://www.imdb.com/title/tt14825408/ 　　------------------------- 　　A Syrian family has lived in Canada for five years. As Farah tries to settle in with her community in Toronto, Rashid – an unlicensed doctor – struggles with the ruptures in his biography. A film about the everyday difficulties in a new country. 　　源自：https://www.berlinale.de/en/2023/programme/202302295.html

这部来自 Apple TV+ 的聪明、有趣和鼓舞人心的新定格动画系列发生在一个迷人的岛屿上，并邀请观众加入严肃的 Square、勇敢的 Circle 和棘手的 Triangle 的愚蠢冒险，因为他们挖掘一些乐趣、寻找答案并构建关于他们的友谊——同时学习如何处理彼此的差异。“Shape Island”向孩子们展示了友谊可以有多种形式。

A documentary about 'the love that dares not speak its name' - found at the very heart of the Irish Revolution. The hidden stories of eight female couples who were central in the fight that freed Ireland from the British Empire.

A documentary about 'the love that dares not speak its name' - found at the very heart of the Irish Revolution. The hidden stories of eight female couples who were central in the fight that freed Ireland from the British Empire.

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.