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。

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/

跟着本节目前往世界各地，好让自己放松和重整。

跟着本节目前往世界各地，好让自己放松和重整。

10分钟。根据门德尔松的音乐剧改编。Slavko Vorkapich坚持鼓吹电影的潜能。它是一种可以通过光和运动组织达到视觉之诗高度的独立艺术。就像伟大的音乐是纯粹的音调组成，通过观察自然运动的无限微妙，本片展示了这个理论。

10分钟。根据门德尔松的音乐剧改编。Slavko Vorkapich坚持鼓吹电影的潜能。它是一种可以通过光和运动组织达到视觉之诗高度的独立艺术。就像伟大的音乐是纯粹的音调组成，通过观察自然运动的无限微妙，本片展示了这个理论。

林少鹏是一个普通的工地工人，从小父母离异的他并没有感受到什么家庭的温暖，一次在便利店买可乐的误会中，他与建筑公司老板的女儿许慕凝结下了不解之缘。老板在工地视察时，林少鹏指出了工地的一个隐藏危险，老板因此对林少鹏赏识有加，随着林少鹏和许慕凝的关系越来越近越来越深入，他们相爱了，虽然林少鹏因为自己的出身而不敢直面这段感情，许慕凝却用自己的果敢牵着林少鹏走入了婚姻的殿堂，婚后，林少鹏也开了自己的公司，事业蒸蒸日上，许慕凝却检查出了阿兹海默氏症，林少鹏在无数次的挣扎之后接受了这个事实，并且决定要永远爱着许慕凝，许慕凝每天早上醒来就会忘记一切，但是林少鹏拼尽全力，还是能让许慕凝在睡觉之前爱上自己。