Let’s make MONEY folgt dem Weg unseres Geldes, dorthin wo spanische Bauarbeiter, afrikanische Bauern oder indische Arbeiter unser Geld vermehren und selbst bettelarm bleiben. Der Film zeigt uns die gefeierten Fondsmanager, die das Geld ihrer Kunden jeden Tag aufs Neue anlegen. Zu sehen sind Unternehmer, die zum Wohle ihrer Aktionäre ein fremdes Land abgrasen, solange die Löhne und Steuern niedrig und die Umwelt egal ist. Wir erleben die allgegenwärtige Gier und die damit verbundene Zerstörung, die mit unserem Geld angerichtet wird. 　　Der Film zeigt uns mehrere Ebenen des Finanzsystems. Wir erfahren auch, warum es auf dem Globus zu einer unglaublichen Geldvermehrung gekommen ist. Wir lernen deren Konsequenzen für unser Leben kennen. Täglich werden Milliardensummen, die möglichst hoch verzinst werden sollen, mit Lichtgeschwindigkeit um den Globus transferiert. Let’s make MONEY zeigt uns einige Zwischenstationen dieser Geldvermehrungsreise, wie die Schweiz, London oder Jersey. Warum ist die Kanalinsel das reichste Land Europas? Steueroasen nutzen Konzerne und Reiche, um Steuern zu sparen. Bislang hat die Politik dies nicht verhindert. Dabei setzten die Regierungen die Spielregeln für das weltweite Geldsystem fest. Seit den 70er Jahren erleichterten sie den Geldfluss und schufen so die Grundlage für den Boom der weltweiten Finanzindustrie mit ihren Zentren in London, New York oder Frankfurt. Es ging dabei immer um Interessen von wenigen Mächtigen. So konnten der Internationale Währungsfonds und die Weltbank vielen Entwicklungsländern eine Privatisierung von Altersvorsorge, Stromerzeugern oder Baumwollfabriken aufzwingen, nachdem deren Regierungen durch eine hohe Verschuldung erpressbar geworden waren. Dies eröffnet neue Anlagemöglichkeiten für unser Geld. Doch dieser „Ausverkauf“ von sozialen Errungenschaften wie Gesundheitssystem, Pensionswesen, Energieversorgung und öffentlicher Verkehr passiert nicht nur in der fernen „dritten“ Welt. Wir alle sind direkt davon betroffen. Und genau davon handelt der Film: Wir erleben keine Finanzkrise, sondern eine Gesellschaftskrise – die wir mit unserem Geld beeinflussen können. 　　<<让我们敛财吧！>>跟踪我们的钱的去向，来到了西班牙建筑商，非洲农民或者印度工人把我们的钱变多，自己却持续贫穷的地方。电影给我们展示了著名的基金经理们，他们每天都把他们客户的钱投放到新的地方。也可以看到这些企业家，只要在一个陌生的国家里付给工人的工资和上交的税极少，且环保是无所谓的话，他们就会为股东们的权利而挖空这些国家。我们感受到了无所不在的贪欲，以及用我们的钱造成的相关的破坏。 　　电影给我们展示了更多金融系统的层级。我们也了解到，这个地球上为什么会发生如此无法令人置信的货币增长。我们为了我们的生存了解其后果。每天那些应该尽可能升息的百亿金额，却以光速在这个地球上被转移。《让我们敛财吧！》指出了这些增长的货币的旅行中间站，比如瑞士，伦敦或者泽西（注：非美国新泽西州，而是坐落在英吉利海峡的英海外领地）。为什么这些英国的海峡群岛是欧洲最富有的地方？企业和富商利用这些免税区逃税。但是至此地区政策却没有阻止这些逃税事件发生。政府反而制定为国际货币系统制定了游戏规则。从七十年代起，政府让金钱的流通更加容易，也让伦敦，纽约，法兰克福的中心，为世界金融业的繁荣奠定了基石。这一直都是一些权利人士的利益点所在。这样世界基金组织和世界银行，在许多发展中国家政府拥有巨大的债务而变得可勒索的时候，强迫政府把养老制度，电力公司和棉花制造工厂私有化。这又为我们的金钱开创了投资可能性。这些公共成就的“大减价”，如医疗制度，养老金，能源供给，不只是发生在“第三”世界。我们所有的人都被直接涉及到。这恰好是电影阐述到的：我们正经历的不是金融危机，而是社会危机--对此，我们每个人的钱都能对它产生影响。 　　(不能使用本译文用于任何商业范围，对于违反者，保留对其的法律追究权利)

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. 　　One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. 　　Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.

While working on a film called Cinematic Letters, IFFR stalwart Peter Schreiner was diagnosed with cancer. Although the project was terminated for being logistically too demanding, his desire to make a new film remained. But what can you do when your beloved camera and tripod have become too heavy for you to carry, and setting up even a simple scene is an exhausting ordeal? 　　Tage is not a memoir of Schreiner's battle with his illness – this is merely hinted at, almost obliquely. Schreiner considered his ailing body above all an artistic challenge: What is possible, what can be developed from the set of options and perspectives such a state of being offers? Curiously enough, Tage turned into a variation of his last finished film, Garten (2019): a chamber piece shot almost exclusively in his house, featuring himself and his beloved wife Maria as well as some friends. It is also a return to a cinema of intimacy that he'd last essayed with Kinderfilm (1985). With all of that, Schreiner strove for and reached yet another level of artistic freedom with Tage, for none of his works to date are as light-footed in their movement: pure stream-of-conscious in a diaristic framework – a film as open as Schreiner's restlessly searching soul and endlessly curious heart. 　　源自：https://iffr.com/en/iffr/2023/films/tage

朱劲草和顾茉莉从老家一路奋斗到在上海扎根组建二人的家庭，但是婚姻带来了另外一个本该不是问题的问题——他们如何与父母相处。从个人空间的消失到买房事件，从与彼此父母产生分歧到两人之间也产生分歧。小日子处处充满了危机，到了不可收拾的地步，夫妻二人才发现是他们自己的原因。经历离婚冷静期后两人决定离婚，重新梳理家庭关系，伴随着离婚证的到来，属于小夫妻和双方家庭的挑战才刚刚开始。成长总是伴随着磕磕绊绊，二人在离婚后遇到了信任危机、财务危机、异地危机，也让他们更加明白了家庭的责任。随着问题的解决，双方的父母也明白了要学会放手让孩子自己成长，最终劲草和茉莉重归于好并复婚，更加坚定了一起走下去的信心。

讲述了家庭差距颇大的朱劲草（陈晓 饰）和顾茉莉（童瑶 饰）相识，顾茉莉不听父母劝阻，一意孤行嫁给家庭条件不如自己的朱劲草，二人在上海顺利结婚生女后，原本想着悠哉顺遂的小日子就要到来，但双方父母“以爱之名”的强势介入却让这对小夫妻的婚姻陷入了岌岌可危的地步。二人无奈之下用名义上的离婚来摆脱被各方裹挟的生活，却没想到更多的问题接踵而至……