姐姐与弟弟睡前喜欢天马行空地聊天，却总是被爸爸打断。于是，他们想出来一个主意。 　　本片为中国美术学院影视与动画艺术学院13级学生毕业作品。

维克是一家公司的制图员，他和公司的打字员英格丽恋爱了，两人的恋爱和普通人一样，没什么不同。但英格丽意外地怀上了维克的孩子，两个人只好结婚。他们的蜜月过得很幸福，但因为没有房子，他们和英格丽的母亲一起住。岳母因为凡事都要过问，因此经常和维克发生争吵，而英格丽总站在母亲一边责备维克，两人的关系也越来越差。没多久英格丽又因跌倒流产，之后一直拒绝和维克同房。维克与岳母的矛盾也越来越深。维克因心情不好喝醉酒，被英格丽拒之门外，维克一气之下来开岳母的家。但姐姐和母亲都责备他，只有父亲劝他和英格丽搬出来住。维克和英格丽一起去看房子，手牵着手。

维克是一家公司的制图员，他和公司的打字员英格丽恋爱了，两人的恋爱和普通人一样，没什么不同。但英格丽意外地怀上了维克的孩子，两个人只好结婚。他们的蜜月过得很幸福，但因为没有房子，他们和英格丽的母亲一起住。岳母因为凡事都要过问，因此经常和维克发生争吵，而英格丽总站在母亲一边责备维克，两人的关系也越来越差。没多久英格丽又因跌倒流产，之后一直拒绝和维克同房。维克与岳母的矛盾也越来越深。维克因心情不好喝醉酒，被英格丽拒之门外，维克一气之下来开岳母的家。但姐姐和母亲都责备他，只有父亲劝他和英格丽搬出来住。维克和英格丽一起去看房子，手牵着手。

IMDB标签:lost film

<로맨틱 머신>(2019), <코랄 러브>(2022)를 만든 이소정 감독의 첫 번째 장편. 이미지의 영화적 경험을 극대화해 온 이소정의 작업이 더 넓고 깊게 확장된다. 영화는 “어느 날 편지와 필름 한 통이 도착했다. 그에게서 온 것이다”라는 보이스오버로 시작된다. 그러나 ‘그’가 ‘나’에게 보내온 필름에는 아무것도 찍혀 있지 않고, ‘나’는 거기서 다른 것들을 발견하기 시작한다. 예술가의 작업실보다는 과학자의 연구실에서 나올 법한 이미지들 위에 단정한 보이스오버가 얹힌다. ‘그’의 편지와 ‘나’의 보이스오버는 어떤 픽션을 상상하도록 부추기지만 인간 중심의 선형적인 이야기는 여기에 없다. 이소정 감독이 흥미를 갖는 테마는 인간이 사라져도 끝내 사라지지 않을 물질의 세계-세포, 광물, 별이기 때문이다. 보이스오버의 목소리가 영감을 불러오고 미지의 이미지들이 감각을 일깨우는 도전적인 영화적 체험.

MACH DIE MUSIK LEISER portrays a group of teenagers in Essen, an industrial town in the Ruhr region in the Western part of Germany. It's the summer of 1993. School's over for most of the adolescents, who are mainly played by non-actors. The individuals’ decisions on the future are not determined yet. Bored uncertainty, shy and somewhat helpless passivity dominate the sparse actions and day to day activities – modest quarrels with parents, attending a concert (hardcore stalwarts "Biohazard"), watching pictures in the nearby drive-in-theatre (Cameron’s "Terminator") or on video (Raimi’s "Evil Dead"), meeting with friends in coffeeshops, pubs, along footways and park benches. At first glance nothing specific or dramatic is going on. But as the movie evolves the viewer gets more acquainted with some of the characters’ in- and exterior changes during their rites de passage. 　　MACH DIE MUSIK LEISER is Arslan’s first feature film, his graduation movie from Berlin film school. It already has him following a style of contained observational accuracy. A style connecting documentary and fiction, resting upon the means of spatiotemporal representation, not upon dramatic suspense.

MACH DIE MUSIK LEISER portrays a group of teenagers in Essen, an industrial town in the Ruhr region in the Western part of Germany. It's the summer of 1993. School's over for most of the adolescents, who are mainly played by non-actors. The individuals’ decisions on the future are not determined yet. Bored uncertainty, shy and somewhat helpless passivity dominate the sparse actions and day to day activities – modest quarrels with parents, attending a concert (hardcore stalwarts "Biohazard"), watching pictures in the nearby drive-in-theatre (Cameron’s "Terminator") or on video (Raimi’s "Evil Dead"), meeting with friends in coffeeshops, pubs, along footways and park benches. At first glance nothing specific or dramatic is going on. But as the movie evolves the viewer gets more acquainted with some of the characters’ in- and exterior changes during their rites de passage. 　　MACH DIE MUSIK LEISER is Arslan’s first feature film, his graduation movie from Berlin film school. It already has him following a style of contained observational accuracy. A style connecting documentary and fiction, resting upon the means of spatiotemporal representation, not upon dramatic suspense.

魏晋北（刘昊然 饰）、彭秀兵（彭昱畅 饰）、李绍群（尹昉 饰）三个性格迥异的年轻人从大城市回到云南千年古寨，机缘巧合下共同创业，与古寨“格格不入”的他们用真诚改变了所有人，开启了一段非常疯狂、纯真的梦想之旅。

魏晋北（刘昊然 饰）、彭秀兵（彭昱畅 饰）、李绍群（尹昉 饰）三个性格迥异的年轻人从大城市回到云南千年古寨，机缘巧合下共同创业，与古寨“格格不入”…