The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

影片艺术再现了杰出的无产阶级革命家、军事家陈赓将军1946年率部转战晋南前线，采取运动战、近战、夜战和集中优势兵力打歼灭战等办法，歼灭号称"天下第一旅"的国民党王牌部队的故事。

该记录片于1994年获得年度中国新闻奖一等奖。 　　刘玉安老师是壁画家，以他的学生为原型创造壁画《和平·进步·自由》。其中的牵马人是他的学生陶先勇。陶先勇不幸得了骨癌。刘玉安一直帮助他照顾他直到陶先勇生命终结。陶先勇一直有个愿望，希望能去看一看大海。可这个19岁的青年最终也没有见过大海，成为终生遗憾。但是，谁能说在他生命的进程中，他没有体验过大海的宽阔和温柔呢？凡人和伟人都只有一次生命，让我们热爱生命，珍惜生命吧，珍惜人世间的每一份友情。

陈松林，戴铁郎动画设计。 　　影片根据安徽农民画中“战胜旱灾，水灾，风灾“三幅壁画为基础改编，讲述农民战胜自然灾害，夺得农业丰收的故事。影片虽然带有大跃进时期特有的方卫星的浮夸，比如粮食堆得象小山，一只辣椒两人抬，一颗白菜用车拉，把人定胜天的观念无限放大，但是创作者能把农民画的朴实感，稚气感，人性造型夸张等特点，创造性整合使用，风格协调统一，也是在风格样式上有所创新，在用民族形式表现现实题材的创作上，取得一定经验。

罗曼回到了那块邻近乌克兰边境的土地---这块地是他刚从祖父那里继承来的。他决定卖掉这个寸草不生的地产，但被一帮当地黑社会的人所警告，因为他的祖父曾是这帮人的首领。他们绝不会就此放弃这片土地---以及他们的走私产业---更不会束手就擒。

Mariana (42) is part of that Chilean upper class that takes privilege for granted. Despised by both her father and her husband, she feels a strange attraction towards her riding teacher, Juan (60), a former colonel suspected of human rights abuses during the dictatorship. But their affair cracks through the invisible walls that protect her family from the past.