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……

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 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.

Patience (After Sebald)是一部关于风景、艺术、历史、生命和失去的多层次电影散文（film essay），沿着塞巴尔德最著名作品《土星之环》的足迹，影片叙述随着东英吉利海岸的漫长徒步而展开。与《土星之环》一样，这部电影集合了历史、游记、回忆录、冥想、小说和图像等各种形式，来探索我们时代私人的、公共的和经常被忽视的历史。 　　影片中接受采访的包括罗伯特·麦克法兰、凯蒂·米切尔、亚当·菲利普斯、里克·穆迪和塔西塔·迪恩。 　　——节译自London Review Bookshop网站

2020年初疫情侵袭武汉时，一对相继染疫的婆媳——沈玥 （ 周迅 饰）和婆婆李菊 （ 许娣 饰）不得不生活在同一屋檐下并只有彼此，她们面临着如何处理亘古的婆媳难题。疫情之初，一对热恋中的情侣分隔两地，李昭华 （ 易烊千玺 饰）在武汉，不幸感染，女友周晓璐 （ 黄米依 饰）则在北京，因为武汉封城以及疫情防控，无法回去照顾男友。他们只能通过每天频繁的视频电话联系。梁静思 （ 郑秀文 饰）和丈夫何达仁 （ 冯德伦 饰）婚后有两个小孩，同时两个人又有各自的事业。在困境突然来临时，婚姻中存在的矛盾再次被激化。梁静思因为对丈夫失望而崩溃无奈，丈夫为家庭付出许多却得不到妻子理解。二人就“谁为家庭付出更多”这一每个家庭都会遇到的问题展开激烈争吵 。

电影的故事背景设定在2020年：一场突如其来的灾难，打乱了所有人的生活。当工作面临失业，当家庭分崩离析，当爱人分隔两地，当死亡悄然逼近，当平静的生活突然遭遇毫无征兆的变故，这时候的女性会怎样应对？张艾嘉、李少红、陈冲三位导演用各自独特的女性视角，探索并展现了特殊时期人们在家庭、事业、爱情中的困境与挣扎，用最细腻的视听语言带给观众深层次的思考与启发。影片将镜头对准充满烟火气的平凡生活，通过几对人物的情感和故事映射出社会中万千普通人在2020年的生存现状，值得全社会体悟与思考，也必将引起观众的共鸣与共情。

讲述了少年武拾光在养父母相继去世后，跟随父亲的脚步成为了一个屠龙者。在屠龙之旅中结识了校尉子槲，和同来“屠龙”的寄灵、奉言，在众人的帮助下他发现了自己的真实身份，并且战胜邪恶魔头的故事。