Paris, October 1948. Nino, Gilles, Donald, Barbara and their friends are a new breed of spectators. They discover the cinema as art, they are moviegoers. They will try to realize their grand project: to found a film club. "My film first wants to be a testimony of young people who have lived for a passion. Cinema"

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.

讲述五十年代初期美国纽约的一群有抱负的年轻艺术家的人生经历。

塔维是个有钱而喜欢艺术的年轻人，走到哪里都随身带着自己的摄象机。他和狂热的朋友组建了一个俱乐部，规则很简单：每次聚会时，成员都必须带一盘记录最近一次性狂欢的录象带。但是这个初衷是游戏的玩意渐渐变成危险的困局……

这不仅仅是课堂讲稿，更是一篇美学论文，同时也是一份自白书。罗斯列文从事史料整理工作，还身兼导演与作家的身份。他的前作《非电影》（第40届）探寻了贝克特与基顿交叠的独特时刻，此次他剖析了欧洲艺术电影和美国前卫电影这两种文化对自己产生的冲击。他畅谈了布力奇治与塔可夫斯基对他的影响，还有无数实验派大师级人物的心得为其助阵。他盛赞玛雅黛伦对时空的敏锐洞察，指出美国电影侧重于讲述事件，而欧洲电影则着重表达状态。他通过自己的四部修复短片，展现了从最初的战战兢兢到后来大胆探索的过程。

建造在淤泥、伊斯特拉石、潟湖与水系之上的威尼斯在建城1600年后，仍然传奇不减。它的独特之处在于仿佛刻入基因的矛盾之美：一面是使之列入《世界遗产名录》的昔日辉煌，另一面则是仍然无限向往着的前卫与先锋。 这部纪录片由迪迪·尼奥基（Didi Gnocchi）原创故事改编，米歇尔·玛丽（Michele Mally）导演，从威尼斯的巨大遗产中汲取灵感。有容纳杰作和历史遗存的佩萨罗宫、海关大楼、科雷尔博物馆，有从乔尔乔内和提香引领的威尼斯画派，到丁托列托、维罗内塞的继承和反叛。威尼斯是卡纳莱托笔下真实与虚幻交织的风景，詹多梅尼科·提埃波罗壁画《新世界》（Il Mondo Novo）中展示的西洋镜，人们蜂拥而至，在神秘的透视感和光学幻觉中，惊叹于未来世界馈赠的奇迹。至今，威尼斯的灵魂仍然活跃在爵士乐时代和百老汇黄金时期的音乐剧中，活跃在最美丽的古典殿堂威尼斯凤凰歌剧院里，活跃在威尼斯双年展和电影节上，甚至班克斯的街头涂鸦中。 伴随着意大利戏剧大师卡洛·塞奇（Carlo Cecchi）的脚步与年轻的波兰钢琴家阿妮亚·拉尼（Hania Rani）的旋律，威尼斯的过去与未来纷至沓来。它从来没有因为固守单一的历史身份而变得僵化，而是借助本地人和旅居者的创造力，以反叛的姿态不断重塑自我，永远前卫。

MILFORD GRAVES FULL MANTIS is a portrait of renowned percussionist Milford Graves, exploring his kaleidoscopic creativity and relentless curiosity. "Milford Graves engages with our universe through contemplation and meditation where we coexist in a garden of timeless nature. Since the early 1960s he has struck a mythic figure in the lineage of New Thing/Free Jazz music and art. A theorist on rhythm defined by inherent emotional impulse (as opposed to a mechanism of strict repetition) he has consistently championed the idea that music is more than an art form to be mastered. In his world, sound is a life force to be in tune with, through regard and respect. With patience and a clear devotion to the beauty of the practice and performance of music, both spirit and earth-conscious, MILFORD GRAVES FULL MANTIS as directed by Jake Meginsky, and co-directed by Neil Young, both experimental musicians from Western Massachusetts, is a portrait of one of the most fascinating lights in the lineage of late 20th century music. It is a sonic-visual ode to the ineffable magic of inspired and gracious living." ---Thurston Moore Graves has performed internationally since 1964, both as a soloist and in ensembles with such legends as Albert Ayler, Giuseppi Logan and Sonny Sharrock. He is widely considered to be a founding pioneer of avant-garde jazz, and he remains one of the most influential living figures in the evolution of the form. The film draws the viewer through the artist's lush garden and ornate home, into the martial arts dojo in his backyard and the laboratory in his basement - all of this just blocks from where he grew up in the housing projects for South Jamaica, Queens. Graves tells stories of discovery, struggle and survival, ruminates on the essence of 'swing,' activates electronic stethoscopes in his basement lab to process the sound of his heart, and travels to Japan where he performs at a school for children with autism, igniting the student body into an ecstatic display of spontaneous collective energy. Oscillating from present to past and weaving intimate glimpses of the artist's complex cosmology with blistering performances from around the globe, MILFORD GRAVES FULL MANTIS is cinema full of fluidity, polyrhythm and intensity, embodying the essence of Graves' music itself. A result of nearly 15 years of filming, MILFORD GRAVES FULL MANTIS is Directed by Jake Meginsky, a long time student of Milford Graves. Co-Directed by Neil Young.d

该片关注了激进的一代音乐人为德国战后的文化废墟创造新音乐身份的历程。以1968至1977年间的“新乐队”、罐头乐队、浮士德和发电站等电子音乐先锋为例，分析了其作品的原创性和毫不妥协的特征。他们分享着共同的目标，以难得的前瞻性来突破阴森的过去，但尽管如此，依旧沉迷于战争的 英国音乐媒体仍将这些作品称为“泡菜摇滚”[Krautrock]。(小易甫字幕组)

丁晴（梁静饰）深知老公在美国包养情人，却依然选择沉默。长期压抑下的她终于决定去美国一探究竟。她找到移民美国多年的大学同学，苏美玲（龚蓓苾饰）来带路，准备给老公一个惊喜。二人踏上了美国1号公路，开始了寻找自我自驾之旅。在沿途迷人风景下，苏美玲无意中发现，丁晴的包里竟然藏着把一手枪，她意识到丁晴的目的并非想象中的简单…

In the latter half of the 20th Century, Raymond Rohauer was one of the nation's foremost proponents of experimental cinema. This two-disc collection continues Kino's tribute to the Rohauer Collection, including the early works of Stan Brakhage and influential films by Willard Maas, Gregory Markopoulos, Marie Menken, Dimitri Kirsanoff, Jean Mitry, Sidney Peterson and others. The piece de resistance is Jean Isidore Isou's passionate manifesto of film aesthetics Traite de Bave et d'Èternite; (Venom and Eternity), which sparked a riot when it premiered at the Cannes Film Festival in 1951. This edition of Venom includes 34 minutes of footage never seen in the United States. Music composed and performed by Sue Harshe, Larry Marotta and Jon C. Mirsalis Produced for video by Bret Wood Production superviser: Brian Shirey Special thanks to Tim Lanza Licensed by the Douris Corp.