In this deeply personal video diary, a young researcher tries to make sense of her fascination for the film “The Pain of Others” by Penny Lane. A deep dive into the discomforting world of YouTube and online conspiracies, that challenges traditional notions of what documentary cinema is, or should be.

After being released from prison, a man known as The Rambler stumbles upon a strange mystery as he attempts a dangerous journey through treacherous back roads and small towns en route to reconnecting with his long lost brother.

Uncle Eddie writes children's books for a living. and he's very successful at it , but he's OBSESSED with women, and so little time is life's dilemma for him. Needless to say this leads to numerous close calls with jealous husbands and tight squeezes with flirtatious, unsatisfied wives.

《他人的取向》是一档将出演嘉宾的日常毫无保留地展示给观众，观众看到他们的取向进而确认自己的取向的综艺节目。

《他人的取向》是一档将出演嘉宾的日常毫无保留地展示给观众，观众看到他们的取向进而确认自己的取向的综艺节目。

Rim is a Tunisian interpreter working in France on asylum procedures. Every day, she translates the stories of exiled men and women, whose voices raise questions about her own history.

女子校生みやことその担任の教師、時郎との人目を忍んだ同棲生活も半年を迎え始めたが…。 　　-- 内容（「VIDEO INSIDER JAPAN」データベースより） 　　監督: 関田修 　　原作: 有間一郎 　　脚本: 川崎ヒロユキ 　　キャラクターデザイ ン: 山沢実 　　音楽: 武井浩之 　　声の出演: 天野由梨/森川智之/富山敬/堀川亮/小西寛子/小野健一/野上ゆかな 　　各话标题 　　[1994-08-26]他人の関係 前編 “先生、わたしをぶった代償は高くつくわよ” 　　[1994-10-21]他人の関係 後編 “とっぴな性格は生まれつき”

The Othered Scene starts with a question of language: to whom belong the words when they pass from one person to another through storytelling? Here the words trace back to the plague on Quemoy islands during the immediate post-war period in Taiwan. Two acts of digging lie at the heart of the tales: digging the grave and for the white clay. To uncover the anecdotes related to disease and death, this experimental documentary interweaves a 16mm film travelogue, meditation on archive through charcoal drawing, electronic sound composition, and voice. In assembling the pieces of memories and historical sources, The Othered Scene is part of a work in progress for setting loose the identity of the islanders from any firm historical narrative. The reminiscence of a plague survivor becomes the meeting ground for the fragments from the past of the island –– a field of infinite possibilities for the ritual of narration.

In 1971 John Francis, known the world over as ‘Planetwalker,’ witnessed an oil tanker collision in the San Francisco Bay. The sight of oiled birds on the shoreline caused him to give up motorized transport and rely on his own two feet. Months after that he took a vow of silence convinced that listening rather than adding fuel to any fire was the way ahead. 　　He didn’t talk, but he kept on walking clear across the country and back again. During the next seventeen silent years he listened and studied the world around him. 　　Over many miles his idea of environmentalism changed. At the core of his emerging belief were the people he met, talked to, and broke bread with. 　　The film focuses on the period of John's life from the oil spill through his meandering 20-year journey across the states where he resumes speaking to work on oil spill legislation with the US Coast Guard. During this time, it seemed like the whole world, every creed and color, saw John pass by and interacted with him if only fleetingly. By tracking some of these characters down, we explore the weblike and deeply personal consequences of John’s decades of pilgrimage.

They managed to survive the war and, as winners, they are assigned houses that were swiftly abandoned by others. In their new environment filled with old memories and unfamiliar objects they’re about to start a new, contented life. But it soon becomes clear that the hardest battle is yet to be won. A quasi-autobiographical debut from an extraordinarily talented Georgian director.