The third of the short films on the Best v Best Vol 2 DVD that I watched made me think that perhaps I am doomed to be on the outside looking in with all the films. I say this because Wayfarers just cracked on into what it wanted to do without really giving me anything to help me come along with it. With other films this was a minor issue but here it was a big one. A ten minute look around the grounds and patients within some sort of home for the mentally challenged is fine and it was reasonably interesting but the approach meant it was never more than that. 　　I saw the people and the place but never felt anything for them or understood the wider aim of the film. Is this home part of a bigger failure in Ukraine to deal with the needy of society? I have no idea and, despite having watched this film, still have no idea. Visually the film is great. I really liked the black and white and enjoyed the mix of mobile shots, candid shots and portrait-like, silent frames of the people. It helps it a lot although the failure in the material cannot be redeemed solely by this strength. 　　Overall then, stylistically an interesting film but one where it cries out for context and some sort of help for the audience. For viewers who are aware of the bigger picture or of the relevance, this may prove touching but for myself it was well put together and sadly nothing more than that.

The third of the short films on the Best v Best Vol 2 DVD that I watched made me think that perhaps I am doomed to be on the outside looking in with all the films. I say this because Wayfarers just cracked on into what it wanted to do without really giving me anything to help me come along with it. With other films this was a minor issue but here it was a big one. A ten minute look around the grounds and patients within some sort of home for the mentally challenged is fine and it was reasonably interesting but the approach meant it was never more than that. 　　I saw the people and the place but never felt anything for them or understood the wider aim of the film. Is this home part of a bigger failure in Ukraine to deal with the needy of society? I have no idea and, despite having watched this film, still have no idea. Visually the film is great. I really liked the black and white and enjoyed the mix of mobile shots, candid shots and portrait-like, silent frames of the people. It helps it a lot although the failure in the material cannot be redeemed solely by this strength. 　　Overall then, stylistically an interesting film but one where it cries out for context and some sort of help for the audience. For viewers who are aware of the bigger picture or of the relevance, this may prove touching but for myself it was well put together and sadly nothing more than that.

30 多岁的安东是一位成功的俄罗斯导演，尽管事业有成、拥有恋情和朋友，内心却感到空虚。他执着于为自己那部极具个人色彩的电影找到完美的女演员，于是逃到异国他乡，陷入了疲惫而无休止的循环中。几周过去，制片人在没有他参与的情况下做着各种决定。孤独的安东逐渐崩溃，自我毁灭的倾向愈发严重 —— 直到一段意外的、无需言语的联结出现，为他带来了一丝救赎的微弱希望。

来自比利时、韩国、美国等国家的才华横溢的音乐家们，将各自展现经典交响乐、流行音乐和阿卡贝拉的独特魅力，对《原神》中悠扬曼妙的背景音乐进行重新演绎。

留守儿童三部曲其中一部，这一部主要是讲关于留守儿童父母的。

留守儿童三部曲其中一部，这一部主要是讲关于留守儿童父母的。

因为疫情，一个电影剧组的拍摄计划不得不中途搁浅，制片人带着导演和摄影师回到乡下老家。眼前的异乡现实与导演的梦境和回忆交织，让他决意拍一部和童年、死亡、性以及遥远的田园牧歌时代相关的电影。拍摄没有剧本，没有演员，有的只是导演、制片人和摄影师，还有一台单反相机……

因为疫情，一个电影剧组的拍摄计划不得不中途搁浅，制片人带着导演和摄影师回到乡下老家。眼前的异乡现实与导演的梦境和回忆交织，让他决意拍一部和童年、死亡、性以及遥远的田园牧歌时代相关的电影。拍摄没有剧本，没有演员，有的只是导演、制片人和摄影师，还有一台单反相机……

秋叶原——从新手到老手通通接纳，有着深厚包容力的街道。即使独自一人，只要去了秋叶原也会遇到理解自己的某人。可以做到、感觉能够做到什么事的自…