Ⅰ. "Sleepy" On the way home from work, the fierce anger of the road rage transformed into a huge monster, devouring the roads and buildings. Hurry home. Ⅱ. "Forgotten" Forget. Here. There. Everything. People, like ants, circulate endlessly.

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

中国武术以她的源远流长、博大精深，堪称是中国传统文化的精髓，被称之为国宝，让世人羡慕。渐起人气的《体育人间》栏目的编导们无不揣摩该题材纪录片的创作。2001年初，由赵邈、赵聪兄弟俩扛起摄像机，开始了以描述当今武术人生活状况的20集纪录片《今风细语江湖》的漫长创作旅程，500个日日夜夜的创作时间里，他们经历了早起4时在北疆拍日出，更有露宿古刹名寺的悬弘之夜。相继走遍了40多个省市地区，与50多个武术基层组织及习武者，对他们进行了采访、畅谈、跟拍、偷拍等制作方式和手段，面对浩如烟海的古今武术文化，在以武打为主题的电影电视剧狂轰烂炸电视屏幕的今天，针对无数个传说、戏说，该片编导们潜心研究、认真选择，最终选择了以真人实事为节目的主要脉路，以真实为原则，采用不停机、不剪切等方式全景纪录揭示武术搏击的真实过程，为电视机前的广大武术爱好者打造了一出真实生动的武术大片。 <BR><BR>　　《初篇》是本片的概述，为我们打开了20集武术纪录片的帷幕，我们从中可以俯视全片主要内容和立意，从更高更全面的角度为我们拉开了本片主要人物的一角，使我们能够在欣赏片子的同时，感受武术与中国传统文化的内在关系

罗鹏在送外卖的过程中，遭遇了一系列不幸，包括撞破上司与未婚妻的私情，以及被上司羞辱并丢掉工作。然而，他的外卖箱却意外成为了连接现代与古代的时空之门。罗鹏通过外卖箱向古代输送现代物资，帮助了古代的女将军木兰解决了一系列危机，包括干旱和匈奴的入侵

一个女人，和原本的恋人（是个西班牙佛朗哥政权时代的反对青年 受到迫害）约好逃往法国，却意外没有成功，女人却因为在逃亡路上遇到调音师而和调音师结了婚；三年后，这个青年出现在女人家里，女人把他安排住在家里的地下室，这个浪漫主义者（青年对女人是一见钟情，起始与女人在聚会上随手弹起的一段曲子）于是在这个地下室一直住下，直到老去

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

2024 en banlieue parisienne : Suzanne, grand-mère addict à la technologie, ne parvient pas à se remettre de la mort de son mari Edouard. Un jour elle télécharge l’appli “Au jour d’aujourd’hui” qui permet de “retrouver vos êtres chers.” Edouard revient, mais n’est plus tout à fait le même.

ケイサイは、人や動物を生き生きと、とても見事に描く絵師だった。 　　ある日鯉の絵を描いていると眠ってしまい、鯉になった夢をみる。楽しく泳いでいた鯉は、釣り人に釣られて城に運ばれていく… 　　上田秋成「雨月物語・夢応の鯉魚」の主人公を、江戸中期の画家・鍬形蕙斎に代えた自伝風フィクション。 　　ビジュアルは蕙斎の「鳥獣略画式」をモチーフにして、夢見の中で様々な鳥獣に変態する蕙斎を映像化している。（2019年作品） 　　第23回文化庁メディア芸術祭審査委員会推薦作品他、世界各国の映画祭に出品 　　語り部：長塚圭史 　　原案：上田秋成「雨月物語・夢応の鯉魚」（1776） 　　鍬形蕙斎「鳥獣略画式」（1797）「人物略画式」（1799） 　　監督・脚本・アニメーション：山村浩二

Plot Keywords: Fairy Tale 　　Award: 　　Annecy International Animated Film Festival 　　Year Result Award Category/Recipient(s) 　　1963 Won Grand Prix Jirí Brdecka 　　San Sebastián International Film Festival 　　Year Result Award Category/Recipient(s) 　　1964 Won Golden Seashell Best Short Film 　　Jirí Brdecka

雪已经化了，春天还没有来。2月末、3月初，是燕园最素颜的季节：这段时间的北大，没有花、没有绿、湖水化了一半，失去了光滑的冰面，也泛不起一丝涟漪。这样的园子，风景未名，情愫未名。 　　在这样的季节里，一种名约“靠近”的念头浅浅淡淡懵懵懂懂地滋生在20岁左右的少年少女心中。 　　只因动了“靠近”的念头，才有了尤天的傻傻追求，雯雯的莫名忧伤。也正因为“靠近”的念头，这个没有妆点的季节里，青春岁月渡上了一层蓝蓝雾雾的哈气：迷茫、追求、误解、碰撞……归根结底，14分钟的简单故事，只是在诉说一件事： 　　每一个北大人心里，都有一个想要靠近的地方。