《士兵》是由詹姆斯·格利肯豪斯（James Glickenhaus）創作，執導和製作的1982年美國冷戰動作驚悚片。 敘述一群蘇聯間諜假扮成中東恐怖份子，威脅要切斷絕大部分的石油供應，美國政府因此招集精英情報員「The Soldier」(肯沃爾飾)進行最高機密行動，在另一個中情局探員以及一名以色列摩薩德女成員的幫忙下，「The Soldier」與邪惡的俄羅斯間諜Dracha﹝克勞金斯基飾﹞展開一場惡鬥...！

历时数年拍摄于科罗拉多州南部，《半球》是一份关于光影与植物模式的静谧研究。透过客厅窗户的视角，这部用超16毫米胶片拍摄的作品，将仙人掌与季节光线的延时曝光层层叠加，捕捉色彩、氛围与节奏的微妙变化。 　　如同日晷上的刻度与花园藤蔓的交织，影片呈现的不是单一视角或瞬间的影像，而是一幅关于时间的复合素描——用光线描摹生长与休眠、明与暗、暖与冷、季节更迭与消退的交错循环……

有一天5个人追寻着兄长们的灵魂再一次来到一个深山林里，他们的亲人在几年前制造了恐怖事件，往水龙头的入水处投毒造成了多人死亡，随后投毒者也被教会杀害，来到这旅行的人们，他们的亲人既是恐怖活动的执行者，又是教会下手的受害者，就这样作为死者的家属，拿着百合花来到了撒下骨灰的木桥，不幸的是车子被盗，无法走回家的他们逼于无奈滞留在了死者曾经住过的小屋，在那里各自陷入了无法自拔的沉思之中，回忆着现实和往事……

有一天5个人追寻着兄长们的灵魂再一次来到一个深山林里，他们的亲人在几年前制造了恐怖事件，往水龙头的入水处投毒造成了多人死亡，随后投毒者也被教会杀害，来到这旅行的人们，他们的亲人既是恐怖活动的执行者，又是教会下手的受害者，就这样作为死者的家属，拿着百合花来到了撒下骨灰的木桥，不幸的是车子被盗，无法走回家的他们逼于无奈滞留在了死者曾经住过的小屋，在那里各自陷入了无法自拔的沉思之中，回忆着现实和往事……

在未来社会，信息技术高速发展。一款名为K项圈的产品应运而生，他帮助相隔万里的人们在虚拟的数字空间实现面对面的接触。从此人们不用感受相思之苦，见面如同喝水吃饭一般轻便。当然，虚拟空间中你所面对的只是全息影像，伸手过去你无法触摸到任何实在的物体，虚妄的快乐之后反而是更大的空虚与落寞。男孩与所爱的女孩见面，虚拟世界中两人似乎渐行渐远，根本体会不到切实的活着的感觉。 　　最终男孩下定决心，他扯下K项圈，冲上熟悉而又陌生街道，朝着女孩所在的方向狂奔而去……

一对刚离异夫妇漫行于伦敦街头，移步换景，往日回忆也蹁跹而来。他们是否从这适意的午后，瞥见了重归于好的希望？或者伴随情感的复盘，才是真正的渐行渐远？本次展映为该片的世界首映。

During a global pandemic, Laszlo isolates himself in his apartment. He avoids any kind of human contact. Until one evening the new neighbor Zoe rings at his doorbell with unforeseen consequences for both of them.

Filmmakers Nicolas Grandi and Priya Sen became friends and collaborators in 2011, when they were both teaching in Bangalore. Their subsequent exchanges took epistolary form—as ‘video letters’. Almost ten years later, they have resumed their conversation, across nations and time zones, in the face of the global pandemic that abruptly re-ordered their lives. Now that Nicolas and Priya’s bodies have become receptacles of uncertainty, the haphazard archives they built over the years must speak for them instead. Through a miasma of uncertainty, they discuss distances, lost intimacies, suspended freedoms, memory, images and sensations—and, in spite of their compromised communication and cracked perceptions, Nicolas and Priya’s worlds are revealed to hold a certain continuity.

Experimental short by Yoichi Nagata.

Daniel, a young man serving time in a Spanish prison for abetting a crime. A bad cop, Guillermo, visits the prisoner because he knows of Daniel's role in the murder. At the same time, Guillermo, who is gay, seems to develop an attraction to Daniel, but will never tell him how he feels about him. Guillermo urges Daniel to eliminate a night club owner, Salgado, who is also in jail. Daniel has no choice but to do what Guillermo proposes in order to save his own skin. 　　Daniel, whose ambition is to be a boxer, goes to see a trainer after he gets out. This man, who is reluctant to work with a criminal, makes a bargain to coach him for one last fight when Daniel tells him he has been wrongly accused. Daniel who watches Salgado's funeral from a distance, is seen following his widow, Raquel. She is a former hooker but is no fool, likes what she sees in the ex con. What he didn't know is that he is about to fall in love with her. 　　The police, who are following Raquel, tie Daniel to her, thinking she will implicate the young man in her husband's death. The rest of the story is complicated as others get in the scene and Daniel goes to win big on his first fight. Ultimately, Daniel becomes the target that must be eliminated. 　　"La distancia" is one of the better films that have come out of Spain in recent memory. Thanks to director Inaki Dorronsoro, who also wrote the screen play, the movie combines a couple of genres to make a satisfying product. Mr. Dorronsoro got excellent performances from his cast, especially by Miguel Angel Silvestre and Jose Coronado. Both these actors involve the viewer making their characters seem real. One disappointment is Federico Luppi, an otherwise fine actor that has nothing to do in the picture. Lluis Homar, another good player has some good moments. 　　Director Dorronsoro is a director well worth to watch in future ventures.