Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

选择一，做一个默默无闻的小喽啰；择二，做一个与天争锋的大反派！杨麟毅然选择后者！脚踩十八路主角，这个世界，我说了算！原来杨麟竟穿书成书中的小反派，穿书后的杨麟觉醒了系统，从此开始靠系统攻略一切困难，从职场小透明到天命大反派，看我力压男主，走上巅峰。

《要是羡慕就输了》讲述了真正艺人情侣们真实的爱情故事和日常生活，讲述了恋爱、爱情、结婚的想法和过程。

《要是羡慕就输了》讲述了真正艺人情侣们真实的爱情故事和日常生活，讲述了恋爱、爱情、结婚的想法和过程。

生命的出现便是个体的诞生，继而赋予灵魂、意识等个体所具有的特性。个体与个体之间都会有排斥，也会有融合，在成长的过程中，个体是否开始有独立的特性决定了他的精神世界是否能够自我管控。

山城圭吾（菅田将晖 饰）一直梦想着能够成为漫画家，创作出脍炙人口的优秀作品。虽然圭吾的画功扎实编剧一流，但因为他本身是老好人的性格，所以一直无法创作出真实有冲击力的反派形象，因此，圭吾的事业总是停滞不前，直到现在依然只是一介名不见经传的漫画助手。 　　一次偶然中，圭吾成为了一场凶杀案的目击者。这特殊的经历改变了圭吾的性格，他决定以案件的犯人为原型，创作名为《34》的原创漫画。没想到，这部漫画一下子就火了，读者们纷纷被漫画中描绘的可怕犯人的形象所折服。但好景不长，没过多久，社会上就出现了以漫画内容为蓝本进行犯罪的模仿犯。

山城圭吾（菅田将晖 饰）一直梦想着能够成为漫画家，创作出脍炙人口的优秀作品。虽然圭吾的画功扎实编剧一流，但因为他本身是老好人的性格，所以一直无法创作出真实有冲击力的反派形象，因此，圭吾的事业总是停滞不前，直到现在依然只是一介名不见经传的漫画助手。 　　一次偶然中，圭吾成为了一场凶杀案的目击者。这特殊的经历改变了圭吾的性格，他决定以案件的犯人为原型，创作名为《34》的原创漫画。没想到，这部漫画一下子就火了，读者们纷纷被漫画中描绘的可怕犯人的形象所折服。但好景不长，没过多久，社会上就出现了以漫画内容为蓝本进行犯罪的模仿犯。

《角色》中，手握工程招采决策权的男主，自视感情主角，被女主精心设计的初见、偶遇与谈心步步吸引，深陷心动，认定对方为知己。殊不知女主的一切皆是围猎剧本，他终成权力利益交换的傀儡。影片揭露新型隐蔽围猎手段，警醒党员干部摆正人生角色。

故事发生在二十世纪初期的荷兰鹿特丹，德高望重的德莱文哈文（简·德克莱尔 Jan Decleir 饰）死于非命，一位名叫雅各布（费德贾·范·胡艾特 Fedja van Huêt 饰）的年轻律师遭到了逮捕，尽管证据确凿，但雅各布依然坚称自己的清白无辜，让大家感到惊讶的是，经过调查，德莱文哈文和雅各布看似毫无瓜葛，但却是血脉相连的父子。 　　原来，雅各布是德莱文哈文的私生子，当年，冷酷无情的德莱文哈文抛弃了身怀六甲的约芭（Betty Schuurman 饰），后者正是雅各布的生母。长大后的雅各布诸事不顺，面临着破产的命运，之后，雅各布立志成为一名律师，但却处处受阻，而这一切的始作俑者不是别人，正是他的亲生父亲。