“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

一对连体双胞胎兄弟，自幼孤独，无人理睬，能够交流的只有从在母体时便相互依靠的手足兄弟。成年后兄弟俩经外科手术成功分离。时光飞逝，上了年纪的两兄弟以做人偶为生，然而彼此间却出现隔阂，绝少交流，视对方为陌生人，这令他们痛苦不已。 　　某晚，他们看到彼此身上的伤疤，一种久违的情感在心中油然升起，他们意识到对方的重要性。第二天，兄弟俩推出制作玩具的巨型缝纫机，希望将彼此重新缝合，然而无心的意外摧毁了他们的梦想……

一对连体双胞胎兄弟，自幼孤独，无人理睬，能够交流的只有从在母体时便相互依靠的手足兄弟。成年后兄弟俩经外科手术成功分离。时光飞逝，上了年纪的两兄弟以做人偶为生，然而彼此间却出现隔阂，绝少交流，视对方为陌生人，这令他们痛苦不已。 　　某晚，他们看到彼此身上的伤疤，一种久违的情感在心中油然升起，他们意识到对方的重要性。第二天，兄弟俩推出制作玩具的巨型缝纫机，希望将彼此重新缝合，然而无心的意外摧毁了他们的梦想……

故事讲述8岁的珍妮经常被她的律师妈妈麦琪和艺术家爸爸杰夫之间的不和所困扰。她过着虽然孤独但却很富有想象力的生活，身边还有一群以她父亲的作品为原型、被称为“恐怖亲戚”的木偶。麦琪在一起肇事逃逸事件中不幸身亡，杰夫和珍妮试图开始新的生活。但当麦琪的父亲起诉要求抚养权，保姆萨曼莎试图成为这个家的新女主人时，他们在布鲁克林的乡村小屋生活发生了一个黑暗的转折。可怕的木偶竟然都活过来了，珍妮是唯一能看到他们的人。当这些恐怖生物的动机变得清晰时，每个人的生命都处于非常危险的境地......

故事讲述8岁的珍妮经常被她的律师妈妈麦琪和艺术家爸爸杰夫之间的不和所困扰。她过着虽然孤独但却很富有想象力的生活，身边还有一群以她父亲的作品为原型…

巴蒂娅，一位年轻的母亲，决定解散家庭，和丈夫乔尔分开。与预期的相反，她期望由丈夫继续抚养他们的小女儿。但事与愿违，乔尔神秘的消失了。

巴蒂娅，一位年轻的母亲，决定解散家庭，和丈夫乔尔分开。与预期的相反，她期望由丈夫继续抚养他们的小女儿。但事与愿违，乔尔神秘的消失了。

The film explores the Trump administration’s controversial family separation policy which saw parents and children separated from each other at the Mexico-US border in 2018. It is adapted from Jacob Soboroff’s best-selling book Separated: An American Tragedy.

The film explores the Trump administration’s controversial family separation policy which saw parents and children separated from each other at the Mexico-US border in 2018. It is adapted from Jacob Soboroff’s best-selling book Separated: An American Tragedy.