由独立制片人导演Gary Hustwit执导拍摄的纪录片《传奇字体》，讲述了Helvetica字体从起源诞生到它的特性和影响力，影片访谈了不同时期的老中青三代设计师，畅谈这款简洁、直接、醒目的传奇字体背后的故事。 　　1957年，新字体Helvetica由麦克斯·米耶丁格和爱德华德·霍夫曼在瑞士Münchenstein的哈斯铸造所作为排版铅字制作。新的工业化时代正在来临，这种容易辨识和阅读的字体形式更适应快节奏的生活和工业化生产的需要，很快风靡世界。2007年，Helvetica字体诞生满五十周年。Helvetica字体已然存在于我们随处可见的任何一处角落，几乎成为了工业文明和机械化的象征。

由独立制片人导演Gary Hustwit执导拍摄的纪录片《传奇字体》，讲述了Helvetica字体从起源诞生到它的特性和影响力，影片访谈了不同时期的老中青三代设计师，畅谈这款简洁、直接、醒目的传奇字体背后的故事。 　　1957年，新字体Helvetica由麦克斯·米耶丁格和爱德华德·霍夫曼在瑞士Münchenstein的哈斯铸造所作为排版铅字制作。新的工业化时代正在来临，这种容易辨识和阅读的字体形式更适应快节奏的生活和工业化生产的需要，很快风靡世界。2007年，Helvetica字体诞生满五十周年。Helvetica字体已然存在于我们随处可见的任何一处角落，几乎成为了工业文明和机械化的象征。

《洗稿春树》讲述因对下一部作品充满负担正书写着剧本的曼玉（林顺宇 饰），1986年途经香港，2022年到达木浦，在那里与黎明（高庚杓 饰）再次相遇，传授制作电影真正意义的故事。 　　（우라까이 하루키，우라까이意为“洗稿”，是个日语衍生出来的媒体术语，后半하루키为“春树”，2014曾有新闻出现过“洗稿+春树”，指代那样做的人）。

《洗稿春树》讲述因对下一部作品充满负担正书写着剧本的曼玉（林顺宇 饰），1986年途经香港，2022年到达木浦，在那里与黎明（高庚杓 饰）再次相遇，传授制作电影真正意义的故事。 　　（우라까이 하루키，우라까이意为“洗稿”，是个日语衍生出来的媒体术语，后半하루키为“春树”，2014曾有新闻出现过“洗稿+春树”，指代那样做的人）。

改编自爱尔兰作家塞巴斯蒂安·巴里的同名小说，讲述了一位名叫罗珊·麦克纳蒂的女人一生的经历。 罗珊已经在一家精神病医院生活了超过40年，她将自己在医…

本片讲述了一位名叫罗珊·麦克纳蒂的女人一生的经历。罗珊已经在一家精神病医院生活了40多年，她将自己在医院的生活经历和被送入医院的秘密原因都记录在日记中。随着医院即将拆迁，一个叫格林的医生开始为她做评估，决定她是否能够重返社会，却在过程中了解到了她真实的人生，发现她虽饱受战乱之苦，却依然怀抱希望与勇气，相信爱情，最终她的生命以另一种形式获得圆满。

Peter Chancellor's life becomes a mirror of his latest novel, as he becomes tangled in a web involving Washington power brokers and a blackmailed plot targeted to alter U.S. policy.

痴迷于写作的古里背井离乡去追求自己的写作梦，但迫于生计不得不接了一个活去秘密调查钱子阳——他被认为与一名女孩的意外死亡有关。 　　在调查过程中，古里遇到了女孩的母亲张雨欣。古里被张雨欣身上的悲剧经历吸引，决定把她写进自己的小说。但渐渐地，古里开始分不清小说和现实…… 他甚至答应帮助张雨欣去做一件危险且违法的事，因为他打算把这件事写进自己的小说中。 　　然而，危险的背后却隐藏着一个巨大的阴谋…...

Ancient Worlds is about people and places, politics and economics, art and war, trade and technology, but above all it’s the story of the painful birth and difficult growth of a radical idea first tried and tested some six thousand years ago, and which we are still struggling with today; civilisation. Civilisation has not come easily; it’s something we’ve had to fight hard to achieve, and even harder to maintain, and the greatest threats to it have come from our own talents for destruction. But when we’ve managed to get it right, the benefits have been enormous. 　　When we talk about the ancient world we tend to think of rare and exotic artefacts or the monumental remains of epic architecture; but these are just the empty shells that got left behind when the tide of history turned! The living creatures, the civilisations, that once inhabited these shells were rarely if ever static or stately; they were dynamic, chaotic, and always threatening to spin out of control, because civilisation is based on an improbable idea; that strangers can live and work together in dense urban settings, forging new allegiances that replace the natural ties of family, clan or tribe. It’s an idea we’re still coming to terms with today, but one of the best ways to understand the challenges that are involved is to look at how our ancestors tackled them the first time around. 　　From ancient Iraq to Imperial Rome, Ancient Worlds examines how our ancestors struggled with the levers of religion and politics, art and culture, war and diplomacy, technology and trade in order to keep the complex machinery of their civilisations turning over. Their insights and blind-spots, their breakthroughs and dead ends, their triumphs and disasters are the milestones on the long and winding road that leads directly from their ancient to our modern world.

Ancient Worlds is about people and places, politics and economics, art and war, trade and technology, but above all it’s the story of the painful birth and difficult growth of a radical idea first tried and tested some six thousand years ago, and which we are still struggling with today; civilisation. Civilisation has not come easily; it’s something we’ve had to fight hard to achieve, and even harder to maintain, and the greatest threats to it have come from our own talents for destruction. But when we’ve managed to get it right, the benefits have been enormous. 　　When we talk about the ancient world we tend to think of rare and exotic artefacts or the monumental remains of epic architecture; but these are just the empty shells that got left behind when the tide of history turned! The living creatures, the civilisations, that once inhabited these shells were rarely if ever static or stately; they were dynamic, chaotic, and always threatening to spin out of control, because civilisation is based on an improbable idea; that strangers can live and work together in dense urban settings, forging new allegiances that replace the natural ties of family, clan or tribe. It’s an idea we’re still coming to terms with today, but one of the best ways to understand the challenges that are involved is to look at how our ancestors tackled them the first time around. 　　From ancient Iraq to Imperial Rome, Ancient Worlds examines how our ancestors struggled with the levers of religion and politics, art and culture, war and diplomacy, technology and trade in order to keep the complex machinery of their civilisations turning over. Their insights and blind-spots, their breakthroughs and dead ends, their triumphs and disasters are the milestones on the long and winding road that leads directly from their ancient to our modern world.