Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

Late for the last commuter train and reluctant to spend the night outdoors, two young men trick a family into letting them stay in their apartment: one of them insists that he's the illegitimate son of the man who owns the apartment.

‘My mum left me when I was a baby, she never saw a celebration, and she’ll never see one. Oh generation of god.’ In Kinyarwanda ‘Imfura’ means first-born, the noble one, gentleman. Gisa, a young man, travels to his mother’s village. He never got to know her, since she disappeared in the genocide. Gisa wants to comprehend, to remember, so he meets those who remain. Much has changed. Various chants and rituals guide him in his search. The memory is inside him, the midwife says, has always been with him. He is not alone. He is alone however when he is suddenly forced to choose a position in a fight over an inheritance, a shell of a house. The ruins represent the visible remains of the genocide. 　　The film’s hybrid form, its fusion of documentary and staged material, gives it a great sense of immediacy. Imfura is the first Rwandan production to be included in the competition of Berlinale Shorts

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

‘My mum left me when I was a baby, she never saw a celebration, and she’ll never see one. Oh generation of god.’ In Kinyarwanda ‘Imfura’ means first-born, the noble one, gentleman. Gisa, a young man, travels to his mother’s village. He never got to know her, since she disappeared in the genocide. Gisa wants to comprehend, to remember, so he meets those who remain. Much has changed. Various chants and rituals guide him in his search. The memory is inside him, the midwife says, has always been with him. He is not alone. He is alone however when he is suddenly forced to choose a position in a fight over an inheritance, a shell of a house. The ruins represent the visible remains of the genocide. 　　The film’s hybrid form, its fusion of documentary and staged material, gives it a great sense of immediacy. Imfura is the first Rwandan production to be included in the competition of Berlinale Shorts

Late for the last commuter train and reluctant to spend the night outdoors, two young men trick a family into letting them stay in their apartment: one of them insists that he's the illegitimate son of the man who owns the apartment.

离婚后她带崽嫁入豪门：林梦在经历了与前夫赵乾的感情破裂后，为了儿子卷卷的户口问题，做出了一个重大的决定，她与商业界赫赫有名的潘氏集团总裁潘毅步入了婚姻的殿堂。起初，这段婚姻似乎只是出于现实的需要，然而，随着时间的推移，潘毅渐渐发现卷卷与自己有着惊人的相似之处，心中不禁产生了疑虑。经过一番深入的调查，他惊人地发现，原来林梦之前一直被赵乾所欺骗，赵乾企图通过冒认孩子身份来谋取不正当的利益。真相大白后，赵乾的阴谋彻底败露，他最终难逃法律的严惩。而林梦与潘毅，在经历了这一系列的风波之后，彼此之间的情感反而更加深厚。他们带着卷卷，一家三口终于迎来了属于他们的幸福团聚，共同开启了崭新的人生篇章。

离婚后她带崽嫁入豪门：林梦在经历了与前夫赵乾的感情破裂后，为了儿子卷卷的户口问题，做出了一个重大的决定，她与商业界赫赫有名的潘氏集团总裁潘毅步入了婚姻的殿堂。起初，这段婚姻似乎只是出于现实的需要，然而，随着时间的推移，潘毅渐渐发现卷卷与自己有着惊人的相似之处，心中不禁产生了疑虑。经过一番深入的调查，他惊人地发现，原来林梦之前一直被赵乾所欺骗，赵乾企图通过冒认孩子身份来谋取不正当的利益。真相大白后，赵乾的阴谋彻底败露，他最终难逃法律的严惩。而林梦与潘毅，在经历了这一系列的风波之后，彼此之间的情感反而更加深厚。他们带着卷卷，一家三口终于迎来了属于他们的幸福团聚，共同开启了崭新的人生篇章。