在斯洛伐克中心一片人迹罕至的森林深处，米罗·马杰达带着他的狗在雪地里艰难前行，他正在进行搜索。米罗偏爱四条腿行走的猎手，他曾养育了两只猞猁，等它们长大后便放归了自然。如今，他心急如焚，迫切想知道这两只猞猁能否在野外独立生存。

A long-bearded Finnish hermit sweats out demons in his sauna, when he isn’t crawling around the forest floor at night with hidden cameras to document the shy and endangered lynx. Trippy and cinematic excursion into one man’s inner universe. A Finnish equivalent of Werner Herzog’s Grizzly Man, Hannu has a love and connection to nature that surpasses most. It is the rare lynx in particular that has bitten into Hannu’s heart – so much so that he actually claims to be able to speak its language. So when a dead lynx turns up in his forest, he dons an animal mask, crawls down on all fours and sniffs out the mystery through the mire and thicket. With hauntingly beautiful footage captured by hidden cameras throughout the forest, ‘Lynx Man’ paints a colourful and vivid twilight picture of the natural world around us – and of man’s impact on it. For no matter what Hannu does to live in harmony with the animals, he cannot hide from belonging himself to the species that is the lynx’s worst enemy. It makes sense that most of Juha Suonpää’s atmospheric film takes place in the twilight between dream and reality. Here, the vast forests come alive in Hannu’s hypnotic Night Vision footage of the nocturnal life of the lynx. 源自：https://cphdox.dk/film/lynx-man/

自由不羁的海蒂面临着超出她年龄承受范围的挑战，她要保护她的祖父以及她所热爱的高山荒野，对抗一个无情的商人以及他那家贪婪吞噬森林的新锯木厂。

我和闺蜜双双穿越，她成王妃，我却成了一只短胖猞猁！为了苟命，我被迫点满撒娇技能，抱紧冷酷女皇的大腿，不仅混上了金马桶，还成了后宫顶流团宠。然而，皇权之下暗流涌动。太子意外身亡，皇子们夺嫡之争愈演愈烈。闺蜜明竹深陷雍王府的泥潭，甚至与反派皇子有了感情纠葛。面对接二连三的阴谋暗害，我这只猞猁不得不化身“名侦探”，帮女皇鉴婊撕渣。看一只社畜猞猁如何凭借卖萌和智慧，在残酷的后宫中保全自己与闺蜜，最终陪伴女皇平定叛乱，见证闺蜜逆袭成一代女相，谱写一段跨越物种的温情传奇！

冬天临近尾声，汝拉山脉中回荡着一种奇特的叫声。一只欧亚猞猁的壮美剪影在山毛榉和冷杉林间穿梭，它正在呼唤雌猞猁。通过追踪这对猞猁夫妇及其幼崽的日常活动，我们得以窥见一个近在咫尺却鲜为人知的世界。《回归自然的猞猁》是一个真实的故事，在这个故事里，羚羊、老鹰、狐狸和白鼬见证了欧洲最大“大猫”——这种仍属濒危物种的猞猁的隐秘生活。影片展现了这种行事谨慎的捕食者在森林中所起的重要作用，它如何让脆弱的生态环境恢复平衡，以及它在人类占据的栖息地中遭遇的困境。

无尽之中，我们被一个女人温柔的声音引导着整个世界。那是一种神话般的声音，一首Scheherazade给我们讲述了人类生活和奋斗的永恒故事：“我看到一个孩子在雨下走着去参加生日聚会……”“我看到一个还没有找到爱的男孩……”“我看到一个不再信任银行的男人……”我们从一系列显而易见的琐碎瞬间，看到男人和生活的平凡和宏伟，这些琐碎的时刻反映了生活的辉煌：一个女孩第一次握住一个心爱的男孩的手；一个父亲在倾盆大雨中系住他女儿的鞋带；一个年轻的女人等待她的ap。点睛之笔——但也包括人类残忍表现在平庸中的时刻——一个人拖着十字架；一个残废的战争老兵坐在路边；一个父亲把死去的儿子抱在怀里——就像生命的号角一样，关于永无尽头，向我们展示了祢的宝贵和美丽。R存在，唤醒我们希望保持这永恒的宝藏并传递它。

艾玛·罗伯茨将主演爱情喜剧片《关于命运》(About Fate)，与她合作了《假日约会》的蒂芙尼·保尔森写剧本，马里乌斯·韦斯伯格(《爱在大都市》《希特勒完…

琼意外地与多年疏远的旧情人相遇。怀着复杂的心情，她带着儿子内森逃到了乡下，开始了回忆之旅。

Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/