2011年香港亚洲电影节参展动画导演延尚浩，继前作拿「猪」开玩笑，以变态到极点的智慧影射现实的残酷生活后，又一部极具批判性的作品，成为本届多伦多影…

For mysterious reasons, two watchmen are made to guard access to the river in an area of Lausanne where retirees and immigrant families live. Through the different people they encounter, a territory takes shape and a friendship is born. Tizian Büchi creates a fable—part documentary, part fiction and tinged with magical realism—to subtly question our surveillance society.

For mysterious reasons, two watchmen are made to guard access to the river in an area of Lausanne where retirees and immigrant families live. Through the different people they encounter, a territory takes shape and a friendship is born. Tizian Büchi creates a fable—part documentary, part fiction and tinged with magical realism—to subtly question our surveillance society.

上伊那ぼたんは20歳の大学生。 　　入った寮の歓迎パーティで寮長のいぶきにハイボールを飲ませてもらうと酔った勢いでいぶきに絡み始めて・・・? 　　酔っ払いいちゃいちゃガールズコメディ開幕！

上伊那ぼたんは20歳の大学生。 　　入った寮の歓迎パーティで寮長のいぶきにハイボールを飲ませてもらうと酔った勢いでいぶきに絡み始めて・・・? 　　酔っ払いいちゃいちゃガールズコメディ開幕！

入围塔林电影节影评人之选竞赛。 　　Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)

入围塔林电影节影评人之选竞赛。 　　Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)

一位男泌尿科醫生和他的牙醫丈夫深深相愛，但他們的關係在一段影片在社交媒體上爆紅後出現了意外的轉折。隨著焦點越來越明亮，名利的誘惑開始滲透進欲望之中。

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)

Shot in stunning black and white, with scenes that could be outtakes from some surreal haute-couture photo shoot, Phantom Love might just be the most beautiful film of the year. Looks aren't everything, however, and this is no hollow aesthetic exercise. As we follow alienated protagonist Lulu (Marina Shoif) on an impromptu trip into the darkest reaches of her own psyche - seemingly undertaken as a distraction while an unsatisfactory lover labours away on top of her - writer/director Nina Menkes creates a dreamscape of epic imaginative reach. There are shades of Alain Resnais and David Lynch here, but this film's lush mysteries are all its own - and the road that Lulu travels makes Mulholland Drive look like a layby. 　　(source: http://www.edfilmfest.org.uk/films/phantom-love/)