1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.

影片讲述的是一个发生在30年代的故事，那时爵士乐正风靡全美；吉普赛人德詹哥雷恩哈特是爵士乐坛的传奇人物，他当时被冠以“世界上最出色的爵士乐与吉它…

没有固定工作的青年田村直人（山田裕贵 饰）这一天收到一个神秘包裹，里面装有作家山田悠介的小说《生死实况（Live）》。不久，一条视频短信发到直人的手机上，谁知视频里竟然是母亲被绑架的骇人一幕。画面中的神秘男子宣称，如果不想母亲被注射致命病毒死掉的话，那就必须按照《生死实况》中的提示展开争分夺秒的生死救援。直人虽然搞不清为什么会遭遇这种事件，但为了最爱的母亲，他还是加快了营救的步伐。及至来到街上才发现，还有很多人跟他有着同样的遭遇，他们穿上运动服，进行着这场攸关生死的残酷竞技赛……

没有固定工作的青年田村直人（山田裕贵 饰）这一天收到一个神秘包裹，里面装有作家山田悠介的小说《生死实况（Live）》。不久，一条视频短信发到直人的手机上，谁知视频里竟然是母亲被绑架的骇人一幕。画面中的神秘男子宣称，如果不想母亲被注射致命病毒死掉的话，那就必须按照《生死实况》中的提示展开争分夺秒的生死救援。直人虽然搞不清为什么会遭遇这种事件，但为了最爱的母亲，他还是加快了营救的步伐。及至来到街上才发现，还有很多人跟他有着同样的遭遇，他们穿上运动服，进行着这场攸关生死的残酷竞技赛……

外卖骑手强子在送外卖的过程中突然接到老家母亲病重的噩耗，手头拮据的他因高额住院费而发愁，送到客户手中的外卖也出了状况。殊不知，这些仅仅是噩梦的开始...

外卖骑手强子在送外卖的过程中突然接到老家母亲病重的噩耗，手头拮据的他因高额住院费而发愁，送到客户手中的外卖也出了状况。殊不知，这些仅仅是噩梦的开始...

左婴宁怀揣着主持人的梦想放弃了国外的工作，回到国内发展，可事实并不像她想的那么顺利，娱乐圈的潜规则也让她无所适从。看似诱人的机会，却不料陷入了娱乐公司老板设计的“局中局”……梦想与现实、坚持与妥协，她该如何抉择？