夜深人静，万籁俱寂。从不停歇的只有时间，以及映射着时间流动的钟表。放入坠入永眠的都市，成群的鱼儿在街头巷尾穿梭游动。整点时分，带有报点功能的钟表开始聒噪起来。夜即将走到尽头，被浸泡在海洋中的城市得以重见光明。收拾得体的男子穿戴整齐，背着筐走到阳光下。被海水浸泡过的城市折射出别样的魅力，男人四处游走，寻找着那些被遗落在角落里的钟表。城市空无一人，静得让人心慌。这时候，男人突然听到附近玩具店传来的响动，他走了进去，在不起眼的角落里见到了拿着玩具闹钟的小女孩，不过他似乎对此并不感兴趣。 　　不知不觉中，潮汐悄然而至，城市即将再度安眠于海水之下……

A new joint acquisition by the Met and SFMOMA, William Kentridge's five-channel video installation The Refusal of Time (2012) is a thirty-minute meditation on time and space, the complex legacies of colonialism and industry, and the artist's own intellectual life. Kentridge was born in 1955 in Johannesburg, where he still lives and works. After drama school, Kentridge was active in theater and television production in the 1970s and 1980s. By the 1990s—coinciding with the abolishment of apartheid in South Africa—Kentridge's live theater work and the stop-motion animated films he developed from charcoal drawings found an increasingly international audience. 　　Kentridge's recent interest in the nature of time was given focus through the work of Peter Galison, a Harvard-based historian of science. Galison studied a 1905 paper on relativity in which Albert Einstein hypothesized that, due to the delay in signals relayed via telegraph wire, peripheral railway stations synchronized on a centralized clock were forever fated to operate seconds behind schedule. Einstein's nascent theories about the relativity of time converged with French mathematician Henri Poincaré's development, as president of the Bureau des Longitudes, of global time zone maps at the dawn of the twentieth century. Both scientists faced the radical idea, in a newly industrialized and interconnected world, that time is not absolute but relative and resistant to control. 　　At the center of the installation is a moving sculpture—the "breathing machine" or "elephant"—an organ-like automaton with a pumping bellows. Plans from the 1870s for copper pneumatic tubes under the streets of Paris that would pump regular bursts of air to calibrate the city's clocks reminded Kentridge of a passage from Charles Dickens's novel Hard Times (1854). Dickens describes a factory machine moving "monotonously up and down, like the head of an elephant in a state of melancholy madness"—a metaphor for the often convulsive developments in science and industry during the modern era and a reminder of the vain impulse to control time.

A petty criminal and gambler, befriends a man who performs inspections of meat plants. His assistant suspects wrongdoings at the slaughterhouse.

一位来自英国小城镇的新人（杰瑞米艾恩斯）加入了一家业余戏剧公司。到了那里，他发现舞台上的戏剧与幕后发生的一切相比通常是一无是处：诱惑，浪漫，派系争斗和不可避免的嫉妒。

在一位哲学教授激昂描述的过程中，Bill Viola的作品和那些关于时间的飘渺概念似乎突然变得可以被把握了。

【简介】 　　玛莉·吉兰扮演女摄像师，然而被一伙阿拉伯黑帮雇佣拍录像。她爱上了黑帮头子和这种刺激的生活，越陷越深，然后被这种生活改变，渐渐爱钱胜过一切。高潮是她出卖色相，帮助这伙黑帮抢劫国家银行金库，然后杀掉和出卖了同伴们，自己带着巨款远走高飞…… 　　本来以为是喜剧片，结果却是部不折不扣的黑色电影。 　　经典黑色电影有个重要元素，就是害死或者几乎害死男主角的蛇蝎美人(Femme Fatale)。不过，在《马耳他之鹰》和《不堪回首》(Out of the past)的年代，蛇蝎美人总是一出场就已经心狠手辣。当红年轻导演塞德里克·克拉皮奇(Cedric Klapisch)另辟蹊径，讲述一个蛇蝎美人的成长故事。 　　美女玛丽·吉莲扮演女摄像师，偶然被一伙阿拉伯黑帮雇佣拍录像。她爱上了黑帮头子和这种刺激生活，越陷越深，然后被这种生活改变，渐渐爱钱胜过一切。高潮是她出卖色相，帮助这伙黑帮抢劫国家银行金库，然后杀掉和出卖了同伴们，自己带着巨款远走高飞。 　　玛丽·吉莲已不再是《诱饵》时的小女孩模样，但那种无辜纯洁的气质还在。塞德里克·克拉皮奇利用她这种气质，演绎“每个人心中都有黑暗面”的主题，她第一次独立抢劫，第一次同意利用肉体犯罪，第一次杀人，效果都非常有力量。 　　塞德里克·克拉皮奇意在复活黑色电影，但绝不循规蹈矩，片中——特别是前半段——有许多喜剧元素，最搞笑的一段是这样的：小团伙中某中年男子的初中生儿子整天逃学“出来混”，中年强盗就邀请大哥一起教训儿子，中年强盗和强盗头子苦口婆心现身说法地说了半天，小流氓不为所动。两个强盗没辙，叫人结帐，两人抢着付账，推来挡去。那个还没长胡子的小屁孩站了起来，从兜里掏出一大叠欧元，数了几张放在桌上，跟强盗头子握手，说：“见到你很荣幸。我先走了。”说完扬长而去。剩下两个大强盗面面相觑，表情绝望。

As Russia launches its full-scale invasion of Ukraine, primary schools across Russia’s hinterlands are transformed into recruitment stages for the war. Facing the ethical dilemma of working in a system defined by propaganda and violence, a brave teacher goes undercover to film what’s really happening in his own school. 　　In his hometown in the Ural Mountains, fun-loving Pasha works as a nonconformist teacher at the same primary school he attended as a child. However, Russia’s 2022 invasion of Ukraine changed everything. Suddenly the school and community he loved transformed from a place of education and self-expression to one of militarization and state ideology. Soon, his own students and their family members are recruited to fight, and Pasha must ask himself what one person can do. Filmed secretly over two years, Mr. Nobody Against Putin is an unforgettable portrait of life in Russia today and the impossible choices citizens face when the country they love is in the hands of a ruler who demands it become something they cannot accept.

女主角在和男友相恋多年后，因为害怕男人已经厌倦了这段感情而选择离开。女主角甚至以整容这种极端的方式来彻底改变自己的面容，半年后以全新的样貌和身份出现在男友面前。在反复的试探之后，女主角却发现，原来男友依然深爱着原来的自己。 　　有一天男主角终于了解到事情的真相，他感觉受到了欺骗和玩弄，为了报复他决定也去做整容手术，让女主角去茫茫人海中寻找面目全非的他。