A close friendship between two girls is eclipsed by an accidental poisoning at school.

A close friendship between two girls is eclipsed by an accidental poisoning at school.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

影片改编自获2014年普利策奖提名的同名戏剧，讲述罗伊丝·史密斯饰演的86岁女主角行将就木，她的记忆力一天比一天衰弱。有一天，一位长相帅气、与她逝去丈夫极为相像的男子来到她身边，通过讲故事帮助她慢慢回忆起往昔点滴。其实这位男子就是她的丈夫，只不过通过神奇的科技手段“重回人间”，在同一手段的帮助下，女儿、女婿等亲友也都来和她“见面”了。 　　影片在圣丹斯电影节上荣获评委会特别奖，感动无数观众。当爱的人都远离我们，只剩下曾经共同生活的记忆，这些差点被遗忘的记忆被渐渐提起时，随之浮现的温暖的生活细节，也越来越动人……

暂无剧情简介

When the management of the Paris Museum of Natural History decided that their vast collection of taxidermied wildlife was in need of restoration, Philibert decided that the 3-year process needed to be documented. 　　As the painstaking work of re-ruffling feathers and replacing tiny glass eyes and wings is thoughtfully observed, so too is the complex relationship between humans and animals, as the filmmaker grants a visceral subjectivity to these macabre and beautiful objects.

When the management of the Paris Museum of Natural History decided that their vast collection of taxidermied wildlife was in need of restoration, Philibert decided that the 3-year process needed to be documented. 　　As the painstaking work of re-ruffling feathers and replacing tiny glass eyes and wings is thoughtfully observed, so too is the complex relationship between humans and animals, as the filmmaker grants a visceral subjectivity to these macabre and beautiful objects.

在黑心企业工作的鹿森海（铃木爱理饰），没钱没梦想没对象，在幸福的道路上迷失了。而在一次偶然的采访工作中，她邂逅了狂妄自大的年轻摄影师长岭风绪（本田响矢饰），和最新化妆品风险企业“ANIMAL BEAUTY”的社长榊圭祐（白洲迅饰）。得到进入ANIMAL BEAUTY工作机会的海，将重生成为最棒的自己。@哦撸马（阿点）

在黑心企业工作的鹿森海（铃木爱理饰），没钱没梦想没对象，在幸福的道路上迷失了。而在一次偶然的采访工作中，她邂逅了狂妄自大的年轻摄影师长岭风绪（本田响矢饰），和最新化妆品风险企业“ANIMAL BEAUTY”的社长榊圭祐（白洲迅饰）。得到进入ANIMAL BEAUTY工作机会的海，将重生成为最棒的自己。@哦撸马（阿点）