BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. ''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. Philippine Glimpses

故事讲述乌娜13岁时与雷有过一段禁忌情缘，甚至涉及到猥亵未成年少女。15年后，乌娜突然来到雷的办公室寻找答案，人到中年并已经开始新生活的雷不得不面对那段过往。

致瘦弱却勇敢的灵魂——五个来自斯威士兰的孤儿，将他们曾经遭受的创伤融合进创意的笔触，在这些孩子原创的画面里，我们看到的，是一个瘦弱却勇敢的年轻女孩，挑战未知的冒险，这是liyana的故事，也是斯威士兰孩子们的故事。

老妪娜巴特和丈夫伊斯坎德尔生活在远离村庄的偏远小屋。伊斯坎德尔曾是森林巡逻队队员，现在病重在家休养。而战争肆掠此地已久，他们的儿子也在前线牺牲了。老妪家唯一的经济来源是一头奶牛，她隔些日子会去村子里卖牛奶。战争的阴云笼罩着大地，村庄渐渐人去楼空，老妪的生活也举步维艰…… 《娜巴特》改编自阿塞拜疆导演Elchin Musaoglu在苏联解体时期听到的一则故事，首映于2014年威尼斯电影节地平线单元。

一位名叫Nona的奶奶原本计划计划在休息日与世隔绝，观看她最喜欢的摔跤比赛。但当她5岁的孙女Renee意外被送来时，她在自己最喜欢的两件事之间犯起了难。孙女想让她陪着玩，而平时溺爱孙女的Nona此时真的想看摔跤比赛，两人在一番对峙之后达成了爱的妥协。

老妪娜巴特和丈夫伊斯坎德尔居住在远离村庄的偏僻小屋。伊斯坎德尔曾是森林巡逻队队员，如今重病在家休养。长久以来，战争在此地肆虐，他们的儿子也在前线不幸牺牲。老妪家仅有的经济来源是一头奶牛，她每隔一段时间会去村子里售卖牛奶。战争的阴霾笼罩着这片大地，村庄里的人逐渐离去，老妪的生活变得十分艰难……《娜巴特》改编自阿塞拜疆导演埃尔钦·穆萨奥卢在苏联解体时期听闻的一则故事，于2014年在威尼斯电影节地平线单元首映。

这部短片的故事背景设定在20世纪50年代初意大利中部（普拉托）的一家小型纺织厂。乔瓦娜和她的女工友们决定对工厂的裁员计划发起抗议，她们占领厂房并坚持工作，直到厂主撤销裁员决定。这些女工都承担着家庭唯一的经济来源，谁也无法承受失业的代价。尽管乔瓦娜的丈夫坚决反对，她仍勇敢地坚持抗争，而其他工友都获得了家人的精神与物质支持。面对厂主切断道路、中断电力以加剧孤立、甚至试图说服她们接受部分裁员的种种手段，近三十五位女工在厂房内坚守了三十五天。她们以坚定的意志冲破重重阻碍，将这场抗争进行到底……