The afternoon Jorge asks Mariana over for a weekend at his house in Leiria, she starts to see him in a whole new light. Unsure of her friend’s intentions, Mariana accepts his unexpected and baffling invitation. 源自：https://www.semainedelacritique.com/en/edition/2023/movie/corpos-cintilantes

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

Driven by their desire for light and warmth, British teenagers take a trip to the Balearic islands. They must absorb the sun and store it in their bodies to take it back to their cloud-covered kingdom. 源自：https://www.berlinale.de/en/2023/programme/202305287.html

Werner Herzog follows mountaineers Hans Kammerlander and Reinhold Messner during their expedition into climbing the Gasherbrum mountains, which has some of the most difficult peaks to be conquered, and they'll do it without the use of oxygen tanks. Herzog also takes some time to hear about their past experiences with other mountains, their personal tragedies and the reasons why they are so involved with such activity. - Written by Rodrigo Amaro

高度経済成長の進む1958年を舞台とした「光る川」は、山間の集落で祖母と暮らす少年ユウチャを軸にした物語。夏休みの終わり、集落を訪れた紙芝居屋は土地に伝わる悲恋の物語を語る。それは里の娘・お葉が山の民である木地屋の青年・朔への叶わぬ思いに打ちひしがれて入水し、その涙が洪水を引き起こすというものだった。紙芝居の物語との不思議なシンクロを体験したユウチャは、現実でも家族を脅かす洪水を防ぎ、哀しみにとらわれたままのお葉の魂を解放したいと願い、古くからの言い伝えに従って川をさかのぼり山奥の淵へ向かう。

April 2020. In a world where it was forbidden to meet up with friends for a long time, the director decided to film every day: the modest spark of daily life with the family, fragments pieced together to form a letter to friends. 源自：https://www.puntodevistafestival.com/en/film/radiance

Searching for the house his father grew up in, director Lei Lei charts the story of a childhood in rural China using a mix of found footage, collage, and animation techniques: a moving account of all the things the father thinks he was not good at. 源自：https://www.berlinale.de/en/2023/programme/202305656.html

杜晓宇是一名中年社畜，在MCN单位担任默默无闻的策划组组长。生活常常会给他带来不期而遇的“惊喜”与“惊吓”。每当遭遇“惊吓”后，他就会摘下头上的假发，露出锃亮的光头，完成一次形象上的“大变身”。此时的他仿佛开启了“他变秃了，也变强了”的模式，总能想出各种奇葩办法解决麻烦，成功扭转不利局势，赢得众人的喝彩。