康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. 　　One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. 　　Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.

While working on a film called Cinematic Letters, IFFR stalwart Peter Schreiner was diagnosed with cancer. Although the project was terminated for being logistically too demanding, his desire to make a new film remained. But what can you do when your beloved camera and tripod have become too heavy for you to carry, and setting up even a simple scene is an exhausting ordeal? 　　Tage is not a memoir of Schreiner's battle with his illness – this is merely hinted at, almost obliquely. Schreiner considered his ailing body above all an artistic challenge: What is possible, what can be developed from the set of options and perspectives such a state of being offers? Curiously enough, Tage turned into a variation of his last finished film, Garten (2019): a chamber piece shot almost exclusively in his house, featuring himself and his beloved wife Maria as well as some friends. It is also a return to a cinema of intimacy that he'd last essayed with Kinderfilm (1985). With all of that, Schreiner strove for and reached yet another level of artistic freedom with Tage, for none of his works to date are as light-footed in their movement: pure stream-of-conscious in a diaristic framework – a film as open as Schreiner's restlessly searching soul and endlessly curious heart. 　　源自：https://iffr.com/en/iffr/2023/films/tage

ケイサイは、人や動物を生き生きと、とても見事に描く絵師だった。 　　ある日鯉の絵を描いていると眠ってしまい、鯉になった夢をみる。楽しく泳いでいた鯉は、釣り人に釣られて城に運ばれていく… 　　上田秋成「雨月物語・夢応の鯉魚」の主人公を、江戸中期の画家・鍬形蕙斎に代えた自伝風フィクション。 　　ビジュアルは蕙斎の「鳥獣略画式」をモチーフにして、夢見の中で様々な鳥獣に変態する蕙斎を映像化している。（2019年作品） 　　第23回文化庁メディア芸術祭審査委員会推薦作品他、世界各国の映画祭に出品 　　語り部：長塚圭史 　　原案：上田秋成「雨月物語・夢応の鯉魚」（1776） 　　鍬形蕙斎「鳥獣略画式」（1797）「人物略画式」（1799） 　　監督・脚本・アニメーション：山村浩二

Plot Keywords: Fairy Tale 　　Award: 　　Annecy International Animated Film Festival 　　Year Result Award Category/Recipient(s) 　　1963 Won Grand Prix Jirí Brdecka 　　San Sebastián International Film Festival 　　Year Result Award Category/Recipient(s) 　　1964 Won Golden Seashell Best Short Film 　　Jirí Brdecka

雪已经化了，春天还没有来。2月末、3月初，是燕园最素颜的季节：这段时间的北大，没有花、没有绿、湖水化了一半，失去了光滑的冰面，也泛不起一丝涟漪。这样的园子，风景未名，情愫未名。 　　在这样的季节里，一种名约“靠近”的念头浅浅淡淡懵懵懂懂地滋生在20岁左右的少年少女心中。 　　只因动了“靠近”的念头，才有了尤天的傻傻追求，雯雯的莫名忧伤。也正因为“靠近”的念头，这个没有妆点的季节里，青春岁月渡上了一层蓝蓝雾雾的哈气：迷茫、追求、误解、碰撞……归根结底，14分钟的简单故事，只是在诉说一件事： 　　每一个北大人心里，都有一个想要靠近的地方。