五位青年好友同寄一处屋檐下，努力过好自己的生活。尽管早已跨入20岁的门槛，五个人面对纷繁的社会似乎却依旧没能长大，行事跌跌撞撞、疯疯癫癫、笑料百出。在成年人的混乱世界里，孩子一样的他们是否能处理好自己的友谊、爱情和面包呢？

14岁的安东尼奥和父亲一起生活，突然某天父亲没回家，也不回复他的信息和电话。安东尼奥从邻居那里得知父亲因摩托车事故住院了，自此他只能独自应对生活，除了学习功课、喂饱自己，他还要花钱修车……好不容易熬到父亲出院的日子，安东尼奥发现父亲竟去了警察局，原来车祸另有隐情…… 　　阿根廷导演马里亚诺·冈萨雷斯在这部最新作品中舍弃强烈的戏剧冲突，塑造了一个以超出年龄的沉稳应对困难的少年。影片如纪录片般呈现了少年成长路上的每一个挑战，用四两拨千斤的方式道出了导演心目中的成长真谛：所谓成长，不仅是具备照顾自己的能力，更重要的是拥有直面真相的勇气。

14岁的安东尼奥和父亲一起生活，突然某天父亲没回家，也不回复他的信息和电话。安东尼奥从邻居那里得知父亲因摩托车事故住院了，自此他只能独自应对生活，除了学习功课、喂饱自己，他还要花钱修车……好不容易熬到父亲出院的日子，安东尼奥发现父亲竟去了警察局，原来车祸另有隐情…… 　　阿根廷导演马里亚诺·冈萨雷斯在这部最新作品中舍弃强烈的戏剧冲突，塑造了一个以超出年龄的沉稳应对困难的少年。影片如纪录片般呈现了少年成长路上的每一个挑战，用四两拨千斤的方式道出了导演心目中的成长真谛：所谓成长，不仅是具备照顾自己的能力，更重要的是拥有直面真相的勇气。

Snowflakes is a twenty-something ensemble comedy following a group of codependent housemates trying to be good people, despite being neither “good” nor “people” yet.

This is a film based on the life of the Wolfenden family and some charachters in the city of Reading, England. Wolfenden whoose son, Jeremy, professess to being Queer, is asked to chair a Home Office committee to look at the laws on Prostitution and Homosexuality. The story follows at least three story arcs. ONE. Wolfenden starting up the committee and dealing with the people who are interviewed, then coming to a decision about the laws surrounding prostitution and homosexuality. TWO.Jeremy Wolfenden's life as a young homosexual man in 1950s Britain. His arrival and sucess at Oxford, his stresses as a 'queer' man and the debates between him and his Father. THREELabourer, Charlie Bollard's relationship with '23 men' and particularly with Parker the baker with whom he becomes obsessed. Bollard is arrested and charged with 'offences' and sees his former partners sentenced to 'an average of 3 and a half years in goal'. The intertwining stories tell the story of the what it was like to be homosexual in 1950s England.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

地球有释放极端灾害的能力，火山、地震、飓风和洪水都有着极大的破坏力。我们也许认为已经见过大自然母亲最无情的一面了，但随着科学家的进一步探索，我们发现过去有着更极端的灾害事件。火山的威力足以杀死数百万人，使建筑土崩瓦解。飓风在温暖的海面上积聚力量，能够跨越数百公里，成为了“死亡”和“毁灭”的代名词。水是生命之源，但水也拥有毁灭的力量，那种力量叫——洪水。这些强大的急流每年可夺走大约两万五千人的生命。但这还不是最可怕的，据说在久远的年代，大自然显示过更大的威力。

老人没有子女的夫妇采用孤儿院女孩汤妮雅。托尼直接孤儿院，缺乏了解，事情可能并不常见，但一个人，她的信任关系，和过度的自我干涉她找到一个与父母新出现的相互了解。

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed. Daniel Eisenberg scrutinises these interactions and gestures meticulously, and he pays close attention to each action involved and to the time required for each operation, from the starting point to the finished forms. With this film, Eisenberg continues the work he started with his previous one, The Unstable Object (FID 2011), in which he also used a triangular structure to compare the work in a high-tech car factory in Dresden, then in an antiquated clock repair shop in Chicago, and finally in a cymbal factory in Istanbul. From one production site to the next, the film focuses on hands, bodies, images: reconstructed bodies, modelled bodies, dressed bodies. And on the social body as well – either collective bodies at work, or their images, shaped by the very objects which are being produced. The patience of an attentive camera and the fascinating rhythm of this choreography let the gestures fully unfold. The geography of production modes also shapes the story it underlies, like the globalisation of exchanges. And what is also paramount here is that the time it takes to make the objects seems to mirror the experience of the viewer watching the film, like an echo between absorbed gazes, theirs like ours. A nice piece of actual work from the gaze and the mind about the ever so unstable object that is work. 　　源自：https://fidmarseille.org/en/film/the-unstable-object-ii/