一口气息，一个动作，一次轻柔的触碰——在这之间，是一场微妙的消融。日常生活中的每一个细微手势都充满了感官的魅力，宛如在柔和的淡色调中轻轻飘荡。

柏林电影节特别展映

技艺精湛的木匠/雕刻家左甚五郎，在修缮江户城时因一场政治阴谋引发的“事故”，被同事陷害，失去了右臂和父亲。 几十年后…… 他带着搭档“睡猫”和武器化的义肢踏上了复仇之旅。 人们开始称他为 Jingoro“Hidari”，在日语中意为“左撇子”。左甚五郎最终打败了所有背叛他的敌人，但他得知德川幕府是幕后黑手，并开始调查。 他一路寻找线索，与机械兵大军战斗。 最终遇到了所有罪行的幕后黑手，然而他必须先组织江户城中的阴谋，因为江户城已经变成了大规模杀伤性武器！

巴依尔前来拜访！上世纪90年代初，当“宝马”还叫“巴依尔”时，一段难以磨灭的记忆，一份来之不易的团圆，由一双孩子的眼睛开启。

巴依尔前来拜访！上世纪90年代初，当“宝马”还叫“巴依尔”时，一段难以磨灭的记忆，一份来之不易的团圆，由一双孩子的眼睛开启。

1810年，山区农民Raffl向法国占领军告发了抵抗英雄的所在地，他本是冲着赏金去的，结果最后一分钱也没得到

前澳门司警梁镜晖（林家栋饰）在旁人的眼里是个偏执的怪人，每天不苟言笑。经常购买各种不同的香料，躲在自己的小屋里查寻着什么。还时常独坐在固定的茶楼里喃喃自语。

讲述一名警察的唯一亲人——妹妹被人重伤，生死不明，而其本人也被人用“心理催眠法”而患上精神分裂症，离开了警队，后来在同是警察的女朋友帮助下，终…

This would definitely not have been my kind of movie, but my husband saw it on TV and said it was really good. So, on his recommendation, I bought a copy, since I didn't know if it would ever be on TV again. I had never heard of anybody in it except Armand Assante. At first I had a hard time getting into the story, because the first part of the movie is a jumble of images-- and it doesn't make much sense. It is only later in the movie that it all comes together. The scene-cutting- if that's what it's called, is a bit jarring-- it sometimes looks as if a few frames have been cut out of each scene, and the scenes are jerky--but I guess that was done to add to the unusualness (if that's a word). The story veers here and there, and just about the time you have it all figured out, everything turns upside down and you have to readjust your thinking as to who is the bad guy and who is not. Or bad woman. The acting is very good-- I kept thinking how much Norman Reedus looks like Leo Decaprio. The ending was a real twist, totally unexpected, which I liked. A good show.

三位电影制作者的跨代约束，他们寻求替代他们固有的权力结构的可能性。每个女人都像伸出援助之手一样，把目光延伸到她不在的主题上。韦弗（为芭芭拉）成长于玛雅德伦和芭芭拉汉默的废弃电影项目。1975年，在一个摩托车旅行锤的最远点被击中，来到危地马拉，在1950年代的海地，德伦思考了失败、遭遇和开始。 　　vever是海地伏都教中用来调用一个LOA或上帝的象征性绘画。 　　A cross-generational binding of three filmmakers seeking alternative possibilities to the power structures they are inherently part of. Each woman extends her gaze like an offered hand to a subject she is outside of. Vever (for Barbara) grew out of the abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections on failure, encounter, and initiation in 1950s Haiti. 　　A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.