Truman Capote's semi-autobiographical first novel about coming of age in the Deep South during the 1930s centers on 13-year-old Joel Sansom (David Speck), who reunites with his estranged father at the family's shabby plantation, where he must contend with his father's feisty mistress and a strange cousin. Against this less-than-ideal backdrop, Joel slowly matures into an upstanding young man.

纷繁耀眼的T台上，模特们身姿妖娆，T台周围众多记者正拿着照相机不停地按着快门…… 　　罗秀琼是一名优秀的平面媒体摄影记者，同时又是一个单亲妈妈，独自抚养五岁的女儿文秀。乐观坚强的她很爱女儿，希望女儿能像其他孩子一样幸福，白天全力工作，再辛苦晚上也一定要陪女儿聊天玩耍，母女之间的感情很好。 　　秀琼有一个男朋友叫光华，由于男方母亲不同意久久不能结婚，其实秀琼心中也并不很爱他，而是一直深深爱着文秀的爸爸韩志文。 　　在一次身体检查中，秀琼的上司也是好朋友文部长告知秀琼她身体可能有问题，医生诊断的结果竞是肺癌，最多只能活三个月。秀琼不肯相信，但事实如此。突如其来的打击让秀琼心力交瘁，但生性豁达的她并没有怨天尤人，妥善地安排着身边的一切，唯一放心不下的就是女儿文秀。 　　为了能在自己离开后让文秀有所依靠，秀琼不得不与已经五年没有联络的文秀的生父韩志文重新见面，骗他说自己要结婚没办法再带着孩子，请他收养文秀。 　　回想起以前两人一起生活的时光，短暂但甜蜜美好，然而一天一个叫阿珠的女人的闯入，让一切都结束了。原来阿珠是志文的妻子，但两人感情不好。秀琼与志文深深相爱，可志文在认识秀琼以前就已经结婚，使得两人无法在一起。独立自尊的秀琼毅然决然断了两人的关系，尽管志文要与阿珠离婚，尽管自己还深爱着志文，尽管两人都是那么依依不舍。 　　分别后再没联系，志文自然不知秀琼有了自己的孩子，对于要接受这个孩子，志文说需要时间与妻子商量。 　　秀琼的病情一天一天恶化。志文在和妻子经过激烈的斗争后，妻子才勉强接受文秀。收拾好东西后，秀琼就把文秀送给了志文，纵使文秀再不情愿，再哭闹，再舍不得离开妈妈，秀琼还是狠下心将她送走了，自己一个人来承受所有的痛苦。 　　没有了牵挂，秀琼住进了医院，男友光华和保姆一直照顾着她。到了最后的日子，秀琼回到了自己家，只能对着墙上的照片思念文秀，收捡着美好的回忆。看着秀琼内心的痛苦和已经没有多长时间的生命，文部长再也忍不住将实情告知志文。志文得知真相后便带着文秀来看望秀琼。此时的秀琼病情已经进入晚期，生命即将走到尽头， 　　面容憔悴，完全失去了往日的光彩，文秀不禁吓了一跳。母女相见，相拥痛哭。志文懊悔不已，内心的痛无法言表。没想到这竞是一家三口最后一次见面了。 　　大雪中，志文带着文秀离开后，秀琼就永远离开了人世，她走得很坦然，很满足，因为有她在这个世上最爱的人陪她走完生命最后的时刻……

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

男人总是无所顾忌，永远不会认输；而女人不能相信，女人笑一下就能摆平任何麻烦。两性不能融洽地相处，男人和女人是不同的物种吗？五个男人，五个女人，全世界最大规模的两性调查、秘密实验，和世界上第一种能改变大脑的药物。准备好探索两性真正的差异。本纪录片邀请了五男五女来参与一系列特别的测验。选出的测试小组尽可能包括社会各个阶层的人。志愿者知道他们在参与一个研究男女差异的节目，但是，他们不知道的是，在节目最后，有些人会完全改变对自己的认识。

珊卓（莫莉·帕克 Molly Parker 饰）表面看似一名普普通通的女孩，却有着异于常人的爱好。人人避之而不及的冰冷尸体总是能够触动到她内心里最柔软的地方，令其心生爱怜，久而久之，这种特殊嗜好日渐发展壮大，令珊卓深陷其中无法自拔。 　　一次偶然中，珊卓前往殡仪馆送花，震惊的发现这世界上竟然还有给尸体化妆的入殓师这一美差，当即决定以此为目标开始努力。在学习的过程中，珊卓从尸体身上学到了太多活人无法教会她的知识。麦特（彼得·奥特布里奇 Peter Outerbridge 饰）是医学院的学生，他珊卓沉着的气质深深吸引，可随着了解的加深，麦特渐渐发现了珊卓的秘密。

影片聚焦三个孤独症孩子及其家庭的故事。当丈夫难以承受孩子孤独症的命运选择跳楼，当“妈妈”成为无法与外界沟通的孩子宇宙里唯一的词汇，当被悉心照顾成年的孤独症孩子安慰哭泣的母亲“我照顾妈妈”……这些不是故事，是超千万孤独症人士真实的人生切面。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.