Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

地球有释放极端灾害的能力，火山、地震、飓风和洪水都有着极大的破坏力。我们也许认为已经见过大自然母亲最无情的一面了，但随着科学家的进一步探索，我们发现过去有着更极端的灾害事件。火山的威力足以杀死数百万人，使建筑土崩瓦解。飓风在温暖的海面上积聚力量，能够跨越数百公里，成为了“死亡”和“毁灭”的代名词。水是生命之源，但水也拥有毁灭的力量，那种力量叫——洪水。这些强大的急流每年可夺走大约两万五千人的生命。但这还不是最可怕的，据说在久远的年代，大自然显示过更大的威力。

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed. Daniel Eisenberg scrutinises these interactions and gestures meticulously, and he pays close attention to each action involved and to the time required for each operation, from the starting point to the finished forms. With this film, Eisenberg continues the work he started with his previous one, The Unstable Object (FID 2011), in which he also used a triangular structure to compare the work in a high-tech car factory in Dresden, then in an antiquated clock repair shop in Chicago, and finally in a cymbal factory in Istanbul. From one production site to the next, the film focuses on hands, bodies, images: reconstructed bodies, modelled bodies, dressed bodies. And on the social body as well – either collective bodies at work, or their images, shaped by the very objects which are being produced. The patience of an attentive camera and the fascinating rhythm of this choreography let the gestures fully unfold. The geography of production modes also shapes the story it underlies, like the globalisation of exchanges. And what is also paramount here is that the time it takes to make the objects seems to mirror the experience of the viewer watching the film, like an echo between absorbed gazes, theirs like ours. A nice piece of actual work from the gaze and the mind about the ever so unstable object that is work. 　　源自：https://fidmarseille.org/en/film/the-unstable-object-ii/

男孩憧憬大自然，但他的家人为此担忧，他只能在文章中驰骋自己的想象力。 Natasha Golovanova执导。她在国家电影学院拿到演员与导演双学位。1971年她加入Soyuzmultfilm，执导一些根据俄罗斯和东方童话改编的“迪士尼式”的儿童动画。其剧本由夫婿Vla dimir主笔。“男孩就是男孩”是她首次与女编剧家Masha Denego合作，也是她探讨自身养育二个儿子的经验。 这部作品跟《猫与小丑》（Cat and Clown，1988）都大量使用变型与透视空间转换的手法，以抽象的方式探讨个人（或民族）追寻自我认同的困惑与矛盾。

影片讲述的是2005-2015年，主人公顾好（庞瀚辰 饰）从18岁到28岁，十年间的奋斗经历。顾好的小小梦想也影射了当代青年的中国梦。顾好是一个小城电台的普…

我们都曾错过，错过一些人，错过一些事。顾好一进学校就加入了广播台，在那里和师姐秦笑一见倾心。和社团里糊涂胆大的室友贾涛以及敢爱敢恨的师妹马澜珊不同，心思敏感细腻的顾好一直无法将喜欢说出口，一次次的努力、勇气、曾在一起、不在一起，都敌不过造化弄人的错过。终于，十年之后，他等到了一个机会，这一回，他们还是否会错过彼此？这进击的男孩，是成千上万年轻少东家的代表，他们的成长，有欢笑、有泪水、有拼搏、有感动。他们真挚地努力着，成为更好的自己，只为遇见更好的你。

改革已经从克里姆林宫的看台走到了城镇的街头。苏联正在我们眼前消亡，伴随着变革的前兆，言论自由、音乐自由、价格自由、良心自由出现了，近乎无法无天。在父母为生存而战的同时，被大家遗弃的孩子们流落街头，成群结队地 "为沥青而战"。他们为了控制在自己土地上矗立或移动的一切而战。在成人一代普遍贫穷和迷失的情况下，青年群体却有明确的生活规则、支持和比誓言更有力的承诺。但是，友谊和正义观念越来越多地与暴力和犯罪混杂在一起。在这一重要的历史背景下，该剧展现了小学生安德烈从一个单纯的 "chushpan"（没有 "加入 "任何团体的青少年的称呼）成长为一个残忍的孩子的过程。

在第一次性體驗中，因自己的三層肚皮而被男友拋棄的靜香(16)，在boys纖體美容院纖體成功！並跟在那裡工作，擁有上帝之手的美少年·響(16)交往。可是當她知道了自己傾慕的七里先生跟女友發展不順利，令她愛意倍增？她於是跟響分手，並向七里先生展開攻勢？另一方面，雙性戀的吉馬希望令響忘記失戀的痛楚，於是宣言要令接受了割包皮手術的響「進化」。莫非響會再一次脫胎換骨？