巴黎20區的一家公立醫院裡，攝影機和持攝影機的人駐留在不同的診間，記錄著來自不同文化背景、處於生命各個階段的女性，拍攝他們與醫療體系的無數次相遇——癌症篩檢、生育問診、意外懷孕尋求墮胎、子宮內膜異位症等，因著「異常」來到醫院的各種身體。導演克萊兒・西蒙經歷癌症的生命經驗促使他展開紀錄，鏡頭溫柔地打破那潛藏在現代醫療體系中高冷的專業術語與疏離的人際關係，以帶有人本主義式的關懷，細膩地呈現人們對於身體、生命的思索，關於進行跨性別手術的未成年人如何思考更年期、個體如何與日漸老去的身體共存，以及醫療人員如何身在機構的同時亦能進行機構批判。電影從親密的視角展現生命的多樣性，以及差異如何構成集體的經驗，共同譜成我們的身體。

巴黎20區的一家公立醫院裡，攝影機和持攝影機的人駐留在不同的診間，記錄著來自不同文化背景、處於生命各個階段的女性，拍攝他們與醫療體系的無數次相遇——癌症篩檢、生育問診、意外懷孕尋求墮胎、子宮內膜異位症等，因著「異常」來到醫院的各種身體。導演克萊兒・西蒙經歷癌症的生命經驗促使他展開紀錄，鏡頭溫柔地打破那潛藏在現代醫療體系中高冷的專業術語與疏離的人際關係，以帶有人本主義式的關懷，細膩地呈現人們對於身體、生命的思索，關於進行跨性別手術的未成年人如何思考更年期、個體如何與日漸老去的身體共存，以及醫療人員如何身在機構的同時亦能進行機構批判。電影從親密的視角展現生命的多樣性，以及差異如何構成集體的經驗，共同譜成我們的身體。

影片主要讲述的是连续考了8年公务员的子英（崔嬉序 饰）在备考的这些年一直忽视自己的身心健康，在一次偶然遇见奔跑的女子玄珠（安智慧 饰）后，遂开始和她一起跑步并逐渐敞开心扉走向外面世界的故事。

挪威13集纪录片.类似于BBC的Human body.只是尺度更大一些.

挪威13集纪录片.类似于BBC的Human body.只是尺度更大一些.

1969年，33岁的未来名监督 若松孝二（井浦新），热衷于粉红电影的制作，此时，一位少女（麦）敲开了若松制作公司的门，两人开始一起製作电影，青春、电影，还有爱情，一出青春群像剧就此展开。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

千叶县出身的田中洋平（伊藤淳史 饰）和甲本孝志（小出惠介 饰）自高中毕业后，便结伴朝着搞笑艺人的目标全速奔跑。他们将组合的名字定为“房总Swimmers”，自结成以来迄今已走过12个年头，可是而立之年的两人，不得不面对事业正走向下坡的严峻事实。长久以来，田中和甲本总在刻意回避谈论组合的未来。为了弄清前进的方向，经由甲本提议，他们试图通过交换日记的方法了解对方的想法。        在此之后，两个相交多年的大男孩展开了史无前例的真心话大碰撞。以此为契机，他们赌上全部的人生，朝着搞笑艺人大赛再次进军……