有趣的政治讽刺喜剧。国会议员尼古拉斯·斯特恩（保罗·托马斯 饰）正在计划通过关闭42街的各种色情场所进入参议院。竞选期间他一边拼命争取女性选票，一边与各怀异心的盟友肆意玩弄女性。记者艾薇拉·劳伦斯（安妮特·海雯 饰）在跟踪报道时接到竞选站的助选人员乔迪（安妮特·海因茨 饰）的举报，发现斯特恩是个彻头彻尾的伪君子。正当她准备揭穿真相时，作为证据的录音带被斯特恩的手下汤米（乔伊·西尔维拉 饰）盗走销毁。眼看斯特恩的民调遥遥领先于对手，即将获胜当选之际，汤米打开了竞选车上的扩音器，车内的斯特恩一反常态，清晰可闻的对话更是惊得车外一众支持者目瞪口呆...

有趣的政治讽刺喜剧。国会议员尼古拉斯·斯特恩（保罗·托马斯 饰）正在计划通过关闭42街的各种色情场所进入参议院。竞选期间他一边拼命争取女性选票，一边与各怀异心的盟友肆意玩弄女性。记者艾薇拉·劳伦斯（安妮特·海雯 饰）在跟踪报道时接到竞选站的助选人员乔迪（安妮特·海因茨 饰）的举报，发现斯特恩是个彻头彻尾的伪君子。正当她准备揭穿真相时，作为证据的录音带被斯特恩的手下汤米（乔伊·西尔维拉 饰）盗走销毁。眼看斯特恩的民调遥遥领先于对手，即将获胜当选之际，汤米打开了竞选车上的扩音器，车内的斯特恩一反常态，清晰可闻的对话更是惊得车外一众支持者目瞪口呆...

1934年,因为一个偶然的契机,经法国导演雷内·克莱尔的推荐,他拍摄了短片《公共事务》。该短片直到上世纪80年代才被人们发现。 　　片中所表现人物对话、肢体语言的喜剧风格与此后的布列松电影的冷静，演员的木偶式动作相去甚远。可见到卓别林的影子

1934年,因为一个偶然的契机,经法国导演雷内·克莱尔的推荐,他拍摄了短片《公共事务》。该短片直到上世纪80年代才被人们发现。 　　片中所表现人物对话、肢体语言的喜剧风格与此后的布列松电影的冷静，演员的木偶式动作相去甚远。可见到卓别林的影子

这部作品是我给祥林嫂做的一个录音机。是我给自己的人格写的日记。也是一面镜子，映出我身边的人们和世界。故事之后故事还在继续，人们的故事都还在继续。现在自己流动到切生殖器的刀。想努力活着，可以认识更多有意思的人，一起在这个世界做一些打破规则的事。再见了妈妈，今晚我就要出发，我带着你的未来一起自由。一边回忆一边恨一边哭一边咒骂一边拥抱一边狂喜一边平静一边充满爱地蠕动奔跑生长消失，变成树，变成种子，再变成树。

这部作品是我给祥林嫂做的一个录音机。是我给自己的人格写的日记。也是一面镜子，映出我身边的人们和世界。故事之后故事还在继续，人们的故事都还在继续。现在自己流动到切生殖器的刀。想努力活着，可以认识更多有意思的人，一起在这个世界做一些打破规则的事。再见了妈妈，今晚我就要出发，我带着你的未来一起自由。一边回忆一边恨一边哭一边咒骂一边拥抱一边狂喜一边平静一边充满爱地蠕动奔跑生长消失，变成树，变成种子，再变成树。

Beryl's back in "Affairs of the Art", which showcases one family's eccentric yet endearing obsessions with everything from drawing to screw threads and pet taxidermy.

Beryl's back in "Affairs of the Art", which showcases one family's eccentric yet endearing obsessions with everything from drawing to screw threads and pet taxidermy.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.

Aki and Naoko are childhood friends who are drifting apart as adults. Immersed in her family life, Naoko now has a husband and daughter; Aki, on the other hand, remains single and is on leave from work due to a personal crisis. The plot might sound familiar but it has never been told like this. The director Kusano Natsuka stages the interactions through an actors’ table-read and, as the lines are repeated, the scenes gradually develop into on-location conversations. Moreover, she repositions the dramatic peak of the story to the beginning: Aki has murdered Naoko’s daughter. 　　Structurally inventive, Kusano's daring cinema implements ‘distantiation’ effects to get to the heart of friendship issues at times when life has settled. While the repetitions convey the suffocation of role patterns in both friendship and family, a line left out or added in unsettles and reminds us life can take unexpected turns.