春节前的这一天，北方复兴煤矿锣鼓喧天。副市长张弓子的到来，引来了矿山不小的动静。张弓子没有按照事先安排好的路线视察，在途中突然提出改道去下井口看看。意想不到的滑罐事故发生了。

春节前的这一天，北方复兴煤矿锣鼓喧天。副市长张弓子的到来，引来了矿山不小的动静。张弓子没有按照事先安排好的路线视察，在途中突然提出改道去下井口看看。意想不到的滑罐事故发生了。

Awakenings is a story about the magical (and not so magical) moments when we wake up. But at the same time the film is about the mental awakening of our protagonists. The story revolves around three couples, who have just began their relationship, are about to end it, or never really neither began nor finished it. Robert (40) has just divorced and moved to his own place. Soon his student and lover Jana (23) moves in with him, although not entirely by his will. Jana quickly establishes her own way at home and Robert finds himself in a situation he doesn't know how to control. An established photographer Marcel (39) finds out that his wife Ula (39) got her pictures screened at a very important festival. As usual, he performs one of his typical cynical/sarcastic tantrums - but Ula doesn't respond to his methods anymore. Slowly (and painfully) the power shift in this relationship is tearing them apart. Jonas (39) and Karmen (39) meet at Marcelo's exhibition after 20 years. Their high-school flames burn once again, so they find themselves in a hotel room. They spend the night talking and sharing their old feelings and resentments. Nevertheless, with the morning comes the moment of sobriety - Karmen returns to her family. In the last couple of scenes, our characters experience a whirlwind of emotions and situations that finally brings them all at the same place. But what is real and what is just a performance?

Awakenings is a story about the magical (and not so magical) moments when we wake up. But at the same time the film is about the mental awakening of our protagonists. The story revolves around three couples, who have just began their relationship, are about to end it, or never really neither began nor finished it. Robert (40) has just divorced and moved to his own place. Soon his student and lover Jana (23) moves in with him, although not entirely by his will. Jana quickly establishes her own way at home and Robert finds himself in a situation he doesn't know how to control. An established photographer Marcel (39) finds out that his wife Ula (39) got her pictures screened at a very important festival. As usual, he performs one of his typical cynical/sarcastic tantrums - but Ula doesn't respond to his methods anymore. Slowly (and painfully) the power shift in this relationship is tearing them apart. Jonas (39) and Karmen (39) meet at Marcelo's exhibition after 20 years. Their high-school flames burn once again, so they find themselves in a hotel room. They spend the night talking and sharing their old feelings and resentments. Nevertheless, with the morning comes the moment of sobriety - Karmen returns to her family. In the last couple of scenes, our characters experience a whirlwind of emotions and situations that finally brings them all at the same place. But what is real and what is just a performance?

一名孕妇坠崖后醒来，不记得自己是谁，也不认得身边的朋友甚至自己的丈夫，但在恢复记忆的过程中她开始意识到一切绝非这么简单。。。

一名孕妇坠崖后醒来，不记得自己是谁，也不认得身边的朋友甚至自己的丈夫，但在恢复记忆的过程中她开始意识到一切绝非这么简单。。。

临终关怀，中国因文化禁忌多称之为舒缓疗护。 　　在绿康医院的舒缓疗护病区内，一共有六十多名病人，每年要死亡二十多个。他们大多失去了治愈疾病的希望，家属为了减轻他们的痛苦，让他们舒适而有尊严的离世，所以选择让他们接受舒缓疗护。 　　沈伟玲的儿子意外死亡后，她和女儿一同被送进舒缓疗护病区，两人在这里本来生活的简单快乐，但在女儿被强制送进精神病院后，沈伟玲卧床不起，不思饮食，最终在这里生活了72天后离世。 　　蔡寿坤先后和病友发生矛盾、同护理员吵架、对女儿不满而自杀未遂、和女儿吵架后绝食，经过这一系列事件，她被送进精神病院，进去不久她就中风卧床，生活不能自理。 　　这部纪录片采用直接电影的方式，客观、真实的记录被拍摄对象在临终关怀病区的生活。在影片中医院作为一个封闭空间出现，病人被关在这个封闭空间里，他们失去了对于自己生命的控制，只能被动接受家人和医院的决定。 　　老人在这里的生活单调、乏味，回家成为他们最大的愿望，每到家里人来看望时，这个请求不止一次的被提起，但也总是被拒绝。当节假日临近，他们回家的愿望就更加强烈，得不到满足的他们采取了极端的做法。拒绝吃药、拒绝检查治疗、绝食、自杀，这些伤害自己的身体的做法，成为他们引起家人注意的最后砝码。但这些行为被医院看作病态的表现，被家人当成不为别人着想的自私做法。医院和病人的沟通无法奏效，家庭两代人之间的隔阂也越来越重，争吵代替了沟通，指责代替了理解，每个人心中都充满了难以言说的委屈。 　　最终，他们想要回家的愿望不仅没能得到满足，自己反倒被家人和医院联手送进了精神病院，再无实现愿望的可能。

临终关怀，中国因文化禁忌多称之为舒缓疗护。 　　在绿康医院的舒缓疗护病区内，一共有六十多名病人，每年要死亡二十多个。他们大多失去了治愈疾病的希望，家属为了减轻他们的痛苦，让他们舒适而有尊严的离世，所以选择让他们接受舒缓疗护。 　　沈伟玲的儿子意外死亡后，她和女儿一同被送进舒缓疗护病区，两人在这里本来生活的简单快乐，但在女儿被强制送进精神病院后，沈伟玲卧床不起，不思饮食，最终在这里生活了72天后离世。 　　蔡寿坤先后和病友发生矛盾、同护理员吵架、对女儿不满而自杀未遂、和女儿吵架后绝食，经过这一系列事件，她被送进精神病院，进去不久她就中风卧床，生活不能自理。 　　这部纪录片采用直接电影的方式，客观、真实的记录被拍摄对象在临终关怀病区的生活。在影片中医院作为一个封闭空间出现，病人被关在这个封闭空间里，他们失去了对于自己生命的控制，只能被动接受家人和医院的决定。 　　老人在这里的生活单调、乏味，回家成为他们最大的愿望，每到家里人来看望时，这个请求不止一次的被提起，但也总是被拒绝。当节假日临近，他们回家的愿望就更加强烈，得不到满足的他们采取了极端的做法。拒绝吃药、拒绝检查治疗、绝食、自杀，这些伤害自己的身体的做法，成为他们引起家人注意的最后砝码。但这些行为被医院看作病态的表现，被家人当成不为别人着想的自私做法。医院和病人的沟通无法奏效，家庭两代人之间的隔阂也越来越重，争吵代替了沟通，指责代替了理解，每个人心中都充满了难以言说的委屈。 　　最终，他们想要回家的愿望不仅没能得到满足，自己反倒被家人和医院联手送进了精神病院，再无实现愿望的可能。

有人因生活失去想法，威尔则因毒瘾失去空间感。他的写作人生彷佛疾驶在盘根错节的高速公路，并随着吗啡不停偏驶。在家庭与生活都将失去控制前，他极力试图挽回些什么。作品改编自英国作家威尔・赛尔夫（Will Self）的同名短篇小说，以转描的手法、炫目流畅的转场，以及扑朔迷离的动 画变形，营造独树一帜的阴郁风格。

有人因生活失去想法，威尔则因毒瘾失去空间感。他的写作人生彷佛疾驶在盘根错节的高速公路，并随着吗啡不停偏驶。在家庭与生活都将失去控制前，他极力试图挽回些什么。作品改编自英国作家威尔・赛尔夫（Will Self）的同名短篇小说，以转描的手法、炫目流畅的转场，以及扑朔迷离的动 画变形，营造独树一帜的阴郁风格。