暂无剧情简介

It's hard to approach the good and bad in this film without being caught up a discussion of the message of BOSNA!, for this is a film that explicitly sets out to convert its audience to its side, to make people aware of the war and to try to influence them to pressure their governments to intervene. It's a film that's very aware of itself, of the process of its making and of the influence it might have: for example, Mitterand's visit to Bosnia is portrayed as an outcome of information given to the French President by the director, Bernard-Henri Levy. The film is full of very disturbing images: a mother and child fleeing from snipers in Sarajevo; bodies littering a street after a shell has landed on a bread queue, many of them with legs or faces blown off; starving prisoners staring at the camera through the barbed wire of a concentration camp. It's impossible not to be moved by the suffering of these people, and difficult not to feel anger at the inaction of the diplomats who do little but talk while people are fighting for their lives and homes. The film makes much of comparisons between Western indifference to Bosnia today and Western indifference to Czechoslovakia and the Spanish Republic in the 1930s. There is, suggests Levy, the same denial, the same explanations that it's all much too complex to get involved in. In 1945 people saw pictures of the concentration camps in Poland and said "never again", but now that the camps are back it seems that we would rather deny them, or suggest that there's fault on both sides, then determine to stop the atrocities. If there is anything I don't like about BOSNA!, it is the incessant wordiness of the voice-over. Perhaps Levy was so anxious to persuade that he didn't dare to let the audience come to their own conclusions. At times sounding like a Biblical prophet, at times hectoring us, at times reflecting on how the war affects our image of ourselves as Europeans, the narration never lets the eloquent pictures speak for themselves, pictures that have more than enough power to move and to persuade on their own.

在波斯尼亚和黑塞哥维那共和国建军三周年的时候拍摄的纪录片

米哈尔和亚当这对儿时玩伴，在20年后回到了家乡。米哈尔的母亲早在几年前就离世了，而就在他们回来当天，米哈尔的父亲也去世了。米哈尔并不知晓母亲死亡的真相，心中满是愤怒与悲伤。父亲的新妻子（如今成了寡妇）行为十分可疑，这促使米哈尔和亚当决定探寻这起神秘事故背后的真相。然而，一场势不可挡的灾难正悄然逼近……

Niklas, 9, lives with his parents and his grandfather in the country in a yellow house. He longs for a dog and this summer, father, mother and grandfather has decided to get him one.

故事发生在一个依靠着音乐才赖以生存的地方都市之中，音羽歌苗（小松未可子 配音）是一位平凡的高中一年级学生，本来出生在显赫世家的千金大小姐，却因为父母的不断挥霍而不得不早于同龄人许多步，开始思考起自己未来的生计问题。一天，歌苗的面前忽然出现了两名可疑的男子，让歌苗没有想到的是，这两个人，是大名鼎鼎的音乐家贝多芬（杉田智和 配音）和莫扎特（梶裕贵 配音）。在两人所组成的乐队Classicaloid演奏时，产生了奇妙的力量，让整个城市都陷入了沸腾之中。之后，肖邦（鸟海浩辅 配音）、李斯特（能登麻美子 配音）、舒伯特（前野智昭 配音）和瓦格纳（松冈祯丞 配音）等音乐奇才纷纷现身。

这是一个既非发生在地球上也不是采用公元纪年的故事。30年前，世界大战爆发了，由于开发出新型兵器而一跃成为军事大国的“格里安共和国”，侵略并占领了繁荣一时的鲁贝尔斯公国。格里安共和国准备以此为跳板，军事介入其周边邻国。 在原鲁贝尔斯公国的国境内，有一家战前就以悠久的历史和高素质的教学而闻名的名校——“CLUSTER E.A.”（通称CLUSTER学院，这里的学生都是来自世界各国的精英子弟，因此在毕业生的努力下，学校得以在鲁贝尔斯公国灭亡后继续存在，并保持正常的教学活动。于是在这个为求与世隔绝的象牙塔里，一群从12岁到17岁的学生继续着他们的求学之旅，然而外界纷飞的战火还是不可避免的影响着本应平静的校园。 在这段不安的时期里，转入学园的少年阿加特·佛罗莱特，以他特有的直率性格和天真浪漫的笑容，象一阵清新的风吹入了优等生贝里尔和同级生冯对将来迷茫的心中。不仅如此，阿加特还拥有一个连自己都不知道的从出生起就有的能力，那就是能让“奇迹”出现……

This kid has to move to a farm in his summer vacation and don't get to go to Norway Cup as he had planned for. Out on the country there is bad cellphone reception, cow smell and inbreed farmers as far as the eye can see. The family Volvo get stolen and the foreigners in the small town automatically gets blamed. From there is a chase to discover what truly happened...

经典的偶发艺术/行为艺术表演现场纪录片。Claes Oldenburg早年是偶发艺术的实践者，70年代后成为著名的现代派雕塑家、设计师和波普艺术家。《Happenings》是其早年的艺术实践之一，参与创作的还有Carolee Schneemann、Jackie Ferrara、Jean-Jacques Lebel等许多来自美法德各国的偶发艺术家。 Early in 1962 Claes Oldenburg offered a remarkable series of ten 'Happenings' in a store on East Second Street in New York City. The audiences were kept small to heighten the intimacy of the experience. What is a 'Happening'? It would seem impossible to describe afterwards. Yet Raymond Saroff compressed the rich and sprawling imagery of each evening-length work to the essential matter in hand, reassembling a visual realization of what was seemingly consigned to the memories of its audience. All the characterizations, the unprepared transitions, the very personal rhythms with something of Saroff's own: the 'Happenings' impact on a sensitive eye, its reduction to a single and coherent point of view.

《我的希腊餐桌》（My Greek Table）是一档在希腊拍摄的烹饪节目。主持人是黛安·科基拉斯（Diane Kochilas），她是一位旅居希腊的美国籍希腊厨师。