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……

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.

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。

在炙热的阳光下，阿德尔（Adel）和莫伊斯（Moïse）努力面对父亲的离世。然而，随着悲伤逐渐演变成执念，这对少年兄弟之间的裂痕也不断扩大，威胁着要拆散他们。

灼阳之下，少年阿代尔与莫伊兹挣扎于丧父之痛。当哀伤渐成执念，兄弟裂隙日深——这场青春期的精神割席，终将吞噬最后的手足羁绊。

泡面番将围绕着埃及神明展开，故事背景设定在大约公元前 3000 年的埃及。

Married couple in 1980s LA leaves luxury life for nightly adventures with enigmatic Nameless and hedonistic group, entering surreal world of excess and violence.

Married couple in 1980s LA leaves luxury life for nightly adventures with enigmatic Nameless and hedonistic group, entering surreal world of excess and violence.