Mike, Chip, and Larry are three lusty, brawling U. S. Cavalry sergeants stationed in Indian Territory in 1870. Mike and Chip are determined to prevent Larry from carrying out his decision to leave the Army at the end of his current hitch and marry beautiful Amelia Parent. One night the three cronies befriend a trumpet-playing former slave, Jonah Williams, who dreams of someday becoming a trooper. A tribe of fanatical Indians begins terrorizing the area, and the headstrong Chip decides to attempt the capture of their leader. Accompanied by Jonah, he sneaks into the Indians' secret meeting place while they are conducting one of their mysterious rites, but he is discovered and taken prisoner. Jonah, however, escapes and races back to tell Mike and Larry. When Larry insists upon going to Chip's rescue, Mike makes him sign a reenlistment paper "just to make his help official" and promises to destroy the paper after the mission. Mike, Larry, and Jonah make their way to the Indian stronghold, but they too end up as prisoners. As the Cavalry rides into a trap where a thousand warriors are waiting to ambush them, Jonah blows the regiment's favorite tune on his trumpet as a warning. The ensuing battle ends in victory for the Cavalry; the three sergeants are decorated, and Jonah is made a trooper. Thinking himself discharged, Larry drives off in a buggy with Amelia, but the crafty Mike shows the post's commanding officer the reenlistment paper he had promised to destroy. Larry, it appears, will be forced to serve another hitch with Mike and Chip.

Mike, Chip, and Larry are three lusty, brawling U. S. Cavalry sergeants stationed in Indian Territory in 1870. Mike and Chip are determined to prevent Larry from carrying out his decision to leave the Army at the end of his current hitch and marry beautiful Amelia Parent. One night the three cronies befriend a trumpet-playing former slave, Jonah Williams, who dreams of someday becoming a trooper. A tribe of fanatical Indians begins terrorizing the area, and the headstrong Chip decides to attempt the capture of their leader. Accompanied by Jonah, he sneaks into the Indians' secret meeting place while they are conducting one of their mysterious rites, but he is discovered and taken prisoner. Jonah, however, escapes and races back to tell Mike and Larry. When Larry insists upon going to Chip's rescue, Mike makes him sign a reenlistment paper "just to make his help official" and promises to destroy the paper after the mission. Mike, Larry, and Jonah make their way to the Indian stronghold, but they too end up as prisoners. As the Cavalry rides into a trap where a thousand warriors are waiting to ambush them, Jonah blows the regiment's favorite tune on his trumpet as a warning. The ensuing battle ends in victory for the Cavalry; the three sergeants are decorated, and Jonah is made a trooper. Thinking himself discharged, Larry drives off in a buggy with Amelia, but the crafty Mike shows the post's commanding officer the reenlistment paper he had promised to destroy. Larry, it appears, will be forced to serve another hitch with Mike and Chip.

This stylish chronicle of Morocco’s 1970s revolutionary cinema reconstitutes a vital history nearly lost to the forces of censorship and repression. Through film and newsreel fragments and a jaunty mix of printed matter, Ali Essafi recovers the impassioned output of a generation whose postcolonial flourishing was extinguished by the authoritarian crackdown of King Hassan II. Filmmaker Mostafa Derkaoui, an ongoing subject of Essafi’s research-based practice, appears in a raspy narration, joining a jazz score hip to the era’s transnational liberation movements. Shown in excerpts, Derkaoui’s legendary feature About Some Meaningless Events was created in a moment of buoyant experimentation cut bitterly short, resulting in the director being imprisoned for 11 years. That Essafi’s collective portrait can be seen alongside the earlier film’s recent restoration (and this year’s posthumous publication of Ahmed Bouanani’s landmark historiography of Moroccan cinema) highlights the tenacity of a cultural heritage across generations.

This stylish chronicle of Morocco’s 1970s revolutionary cinema reconstitutes a vital history nearly lost to the forces of censorship and repression. Through film and newsreel fragments and a jaunty mix of printed matter, Ali Essafi recovers the impassioned output of a generation whose postcolonial flourishing was extinguished by the authoritarian crackdown of King Hassan II. Filmmaker Mostafa Derkaoui, an ongoing subject of Essafi’s research-based practice, appears in a raspy narration, joining a jazz score hip to the era’s transnational liberation movements. Shown in excerpts, Derkaoui’s legendary feature About Some Meaningless Events was created in a moment of buoyant experimentation cut bitterly short, resulting in the director being imprisoned for 11 years. That Essafi’s collective portrait can be seen alongside the earlier film’s recent restoration (and this year’s posthumous publication of Ahmed Bouanani’s landmark historiography of Moroccan cinema) highlights the tenacity of a cultural heritage across generations.

Akira's is a musician who's life is falling into a crack of drug addiction after his girlfriend Mari's suicide. Kana always loved Akira and tries to help him overcome Mari's death. Shinya is a friend who seeks the cause of Mari's suicide and ends up in conflict with Akira, who is now violent, unstable, and trying to break everything around him, including himself.

Akira's is a musician who's life is falling into a crack of drug addiction after his girlfriend Mari's suicide. Kana always loved Akira and tries to help him overcome Mari's death. Shinya is a friend who seeks the cause of Mari's suicide and ends up in conflict with Akira, who is now violent, unstable, and trying to break everything around him, including himself.

荣获柏林电影节水晶熊奖/和平奖 　　塞巴斯蒂安国际电影节特别评论奖 　　2008年亚洲电影节最佳影片提名 　　法兰德斯国际电影节评委会奖提名 　　影片讲述了一群阿富汗小男孩模仿他们所看到战争场面，欺负一个六岁小女孩的故事。男孩们恶作剧的蓝本就是塔利班炸毁巴米扬大佛时的情景。上世纪80年代，哈娜马勒巴夫出生在一个电影世家，父亲和姐姐都是伊朗知名导演，她更是从14岁就开始拍摄电影。马勒巴夫执导的影片曾在威尼斯、东京和蒙特利尔等多个电影节上获奖。以独特的方式揭示战争的苦楚，这位天才少女的出众才华让所有观众叹为观止。

荣获柏林电影节水晶熊奖/和平奖 　　塞巴斯蒂安国际电影节特别评论奖 　　2008年亚洲电影节最佳影片提名 　　法兰德斯国际电影节评委会奖提名 　　影片讲述了一群阿富汗小男孩模仿他们所看到战争场面，欺负一个六岁小女孩的故事。男孩们恶作剧的蓝本就是塔利班炸毁巴米扬大佛时的情景。上世纪80年代，哈娜马勒巴夫出生在一个电影世家，父亲和姐姐都是伊朗知名导演，她更是从14岁就开始拍摄电影。马勒巴夫执导的影片曾在威尼斯、东京和蒙特利尔等多个电影节上获奖。以独特的方式揭示战争的苦楚，这位天才少女的出众才华让所有观众叹为观止。