Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

Jane is a Korean-American. She is staying at her father's friend's house for a few months while she prepares a chain of massage shops in Korea. However, instead of working on her massage shops, all she's doing is selling sex toys on an Internet broadcasting station. Her boyfriend Tae-in doesn't like what she's doing and tries to make her stop. One day, Jane finds out her mother in the States is sick and while she's back home, Tae-in gets into a car accident. Jane is used to testing her sex toys on Tae-in so while he's sick her sales drop. So she finds other men to test her toys on...

有一天，福尔摩斯接到了格雷格森上校的来信邀请他去破一件案子，于是他便与朋友华生一同前往劳瑞斯顿街的凶案现场，在那，他们在一座无人居住的空房子里发现一具没有外伤的尸体，死者是美国人。现场的墙壁上用鲜血赫然写着“RACHE”。同时，还发现了一枚滚落的戒指、两种不同的脚印、几处墙上的指痕，之后，经过福尔摩斯细致的调查和缜密的推理，终于找到了凶手。

A corpse is found in an empty house with the word 'Rache' scrawled on the wall next to it. The police arrest a suspect but then a similar murder occurs, proving that they have the wrong man. In exposing the real killer Holmes uncovers a feud stretching back to Salt Lake City and the Morman community.

Jane is a Korean-American. She is staying at her father's friend's house for a few months while she prepares a chain of massage shops in Korea. However, instead of working on her massage shops, all she's doing is selling sex toys on an Internet broadcasting station. Her boyfriend Tae-in doesn't like what she's doing and tries to make her stop. One day, Jane finds out her mother in the States is sick and while she's back home, Tae-in gets into a car accident. Jane is used to testing her sex toys on Tae-in so while he's sick her sales drop. So she finds other men to test her toys on...

有一天，福尔摩斯接到了格雷格森上校的来信邀请他去破一件案子，于是他便与朋友华生一同前往劳瑞斯顿街的凶案现场，在那，他们在一座无人居住的空房子里发现一具没有外伤的尸体，死者是美国人。现场的墙壁上用鲜血赫然写着“RACHE”。同时，还发现了一枚滚落的戒指、两种不同的脚印、几处墙上的指痕，之后，经过福尔摩斯细致的调查和缜密的推理，终于找到了凶手。

In London, a secret society led by lawyer Thaddeus Merrydew collects the assets of any of its deceased members and divides them among the remaining members. Society members start dropping like flies. Sherlock Holmes is approached by member James Murphy's widow, who is miffed at being left penniless by her husband. When Captain Pyke is shot, Holmes keys in on his mysterious Chinese widow as well as the shady Merrydew. Other members keep dying--Malcom Dearing first, then Mr. Baker. There is also an attempt on the life of young Eileen Forrester, who became a reluctant society member upon the death of her father. Holmes' uncanny observations and insights are put to the test.

When Watson reads from the newspaper there have been two similar murders near Whitechapel in a few days, Sherlock Holmes' sharp deductive is immediately stimulated to start its merciless method of elimination after observation of every apparently meaningless detail. He guesses right the victims must be street whores, and doesn't need long to work his way trough a pawn shop, an aristocratic family's stately home, a hospital and of course the potential suspects and (even unknowing) witnesses who are the cast of the gradually unraveled story of the murderer and his motive.

1928年，伊文思第一次赴巴黎，试图探讨摄影机的表现可能性，并在那里拍摄了一部4分钟的短片《对运动的研究》。 　　Images of mostly traffic in Paris, a.o. seen from the appartment of Germaine Krull or shot while walking through the city with her. Here already the influence of the Russina avant-garde films can be seen clearly, e.g. when looking at the diagonal frame compositions.