This film is in the form of a personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between author (various surface treatments and combinations) and fixed images on film as the memories.

This film is in the form of a personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between author (various surface treatments and combinations) and fixed images on film as the memories.

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

The life story of His Holiness Karmapa XVI is told by those close to him in Tibet, the generation of teachers that he trained, and many others that he touched. The story of this modern day buddha looks closely at enlightened qualities. It frames them amid historical events and the cultural context of Buddhism's migration to the West. We lost this larger than life figure at the age of 57 from cancer. Karmapa himself was the teaching lesson. How he lived and how he died gives us the example of an awakened being, a person with a noble heart.

The life story of His Holiness Karmapa XVI is told by those close to him in Tibet, the generation of teachers that he trained, and many others that he touched. The story of this modern day buddha looks closely at enlightened qualities. It frames them amid historical events and the cultural context of Buddhism's migration to the West. We lost this larger than life figure at the age of 57 from cancer. Karmapa himself was the teaching lesson. How he lived and how he died gives us the example of an awakened being, a person with a noble heart.

《于青山绿水间》在“乡村振兴”的大概念下记录八个少数民族（瑶族、东乡族、鄂伦春族、土族、纳西族、维吾尔族、羌族、傣族）“撸起袖子加油干”的幸福生活，展现各民族同胞在党的领导下因地制宜发展乡村振兴的故事。

三浦因为接受不了生意失败的打击远走他乡，多年以后，他重新回到了阔别已久的家，却发现早已物是人非。大女儿津岛夏波是一个十分强势的人。二女儿津岛冬花是个没主见的人，至于三浦的前妻津岛纯子，遇到了她生命里的另一个男人——绪方，夏波对母亲的感情生活很是担忧，她生怕母亲像当年一样被骗。而三浦恰巧出现，二人联手开始对绪方展开调查。在调查的讨程中，三浦发现绪方是个非常信得过的男人，他决定主动摄合他俩的感情，与此同时，在三浦的鼓励下，夏波开始考虑男同事对自己的感情，而小女儿多花也找到了自信，去乡下做自己真正想做的事情。 当他身边最亲近之人的生活都得到圆满的时候，三浦独自一人回忆着往日与家人相处的点点滴滴。

三浦因为接受不了生意失败的打击远走他乡，多年以后，他重新回到了阔别已久的家，却发现早已物是人非。大女儿津岛夏波是一个十分强势的人。二女儿津岛冬花是个没主见的人，至于三浦的前妻津岛纯子，遇到了她生命里的另一个男人——绪方，夏波对母亲的感情生活很是担忧，她生怕母亲像当年一样被骗。而三浦恰巧出现，二人联手开始对绪方展开调查。在调查的讨程中，三浦发现绪方是个非常信得过的男人，他决定主动摄合他俩的感情，与此同时，在三浦的鼓励下，夏波开始考虑男同事对自己的感情，而小女儿多花也找到了自信，去乡下做自己真正想做的事情。 当他身边最亲近之人的生活都得到圆满的时候，三浦独自一人回忆着往日与家人相处的点点滴滴。