你有在吃美味的米饭吗？努力家的姐姐光。有点不可思议的妹妹辉。「农业娘」讲述的是可爱的两姐妹守护双亲留下的田地种米的故事。悠悠闲闲的温暖喜剧和密切联系到农业问题的真实故事。敬请品尝两种口味的款待吧！

Machines are checking and sorting nature in an industrial greenhouse. Cameras enable the robots to do their work. Human hands only intervene to straighten anything that is crooked, plant delicate items or clean the mechanics to ensure things continue to run smoothly. Products must be up to standard so that they are market-ready for the consumer. Only at night, when everything is asleep, does unexpected life move in and take control.

在农业迎来闲散期的冬天，在旭川开展了相亲派对。从各地赶来的农业继承者们纷纷盛装出席。为了继承自家产业，一个有实力的合作伙伴是不可缺少，于是便开始挑选夫婿。上富良野町作为团体领头人，父亲幸雄极力反对家中独女广濑菜摘继承家业。因为北海道的农业与本州有很大差别，规模大经营困难，不适合力气小，不精通操作机械的女孩子。另一方面，菜摘的好友泽木由佳，也陷入选择农业还是爱情的两难境地。总之，北海道的农家女子，想要继承家业并不是一件容易的事。她们将采取何种行动，最终又是否能被认可成为继承人，并且收获爱情呢？

在农业迎来闲散期的冬天，在旭川开展了相亲派对。从各地赶来的农业继承者们纷纷盛装出席。为了继承自家产业，一个有实力的合作伙伴是不可缺少，于是便开始挑选夫婿。上富良野町作为团体领头人，父亲幸雄极力反对家中独女广濑菜摘继承家业。因为北海道的农业与本州有很大差别，规模大经营困难，不适合力气小，不精通操作机械的女孩子。另一方面，菜摘的好友泽木由佳，也陷入选择农业还是爱情的两难境地。总之，北海道的农家女子，想要继承家业并不是一件容易的事。她们将采取何种行动，最终又是否能被认可成为继承人，并且收获爱情呢？

原本渡边海莫特直道（原是中居大师说导播）他原来在东京的电视台工作，2008年离开忙碌都会生活，辞职来到乡下（茨城县北部常陆大宫市），挑战自给自足一人农业！电视台也追踪他的农业新生活，纪录成《自给自足一人农业》节目！他原本连开垦除草都不会，慢慢向大自然学习。采用自然农法，种出有机蔬果。种麦酿啤酒、手杆荞麦面，通通自己来，后来成为务农高手

原本渡边海莫特直道（原是中居大师说导播）他原来在东京的电视台工作，2008年离开忙碌都会生活，辞职来到乡下（茨城县北部常陆大宫市），挑战自给自足一人农业！电视台也追踪他的农业新生活，纪录成《自给自足一人农业》节目！他原本连开垦除草都不会，慢慢向大自然学习。采用自然农法，种出有机蔬果。种麦酿啤酒、手杆荞麦面，通通自己来，后来成为务农高手

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。