From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

From a topographic perspective, Ulrike Ottinger’s cinema is mostly located between Berlin and remote places in the Far East or the Far North. In Paris Calligrammes, she explores the landscape of her memories of the city that she called home for 20 years and that helped shape her beginnings as a painter and filmmaker. Ottinger moved to Paris in her twenties and immersed herself in the cultural scene of the 1950s populated by heroes of the avant-garde and a new generation of artists and intellectuals. Meandering between bookshops, concert halls, theatres, cinemas, museums and cafés, Ottinger presents her personal pantheon, and at the same time maps a decisive era both in art – as Dada and Surrealism gave way to Situationism and Pop Art – and in politics where, in-between post-war hopes, the Algerian conflict and the student movements of 1968, there was much to discuss. Nonetheless, the film maintains its intimate stance throughout, assembling a rich and emotionally charged repertoire of film clips, news reports, photos and songs with the same meticulous affection that people used to stick newspaper clippings and photos in a diary so they could write around them.

遍野废墟，末世凄凉。男主人公（达沃斯·哈内赤 Davos Hanich饰）成为核战爆发后少数存活下来的人类。他幼年时梦中总是目睹一名陌生男子的死亡，这也使得他成为了时光旅行的实验品。他被送往核战爆发前夕的过去，他在堤岸上遇见一位女子（海伦·夏特兰 Hélène Chatelain饰），并且爱上了她。当实验快结束时，他又要被送往躲过浩劫的未来。但是他拒绝了这个机会，势要与自己心爱的女子在一起。然而到最后，他才恍然发现，幼年时常梦见的死亡，原来正是自己。 　　这部由新浪潮左岸派代表人物克里斯·马克执导编剧的科幻先锋派短片《堤》，是科幻片历史中的一座里程碑。全片用完全静止的画面，模拟人类对往事的印象，讲述一个世界末日后的故事。简洁有力的音效氛围，流畅凝练的剪辑镜头，配上如诗如梦的旁白语言，一段梦中破碎的记忆被描画得触目惊心。

它用完全静止的画面，讲述一个世界末日后的故事。那时核战已经爆发，人类只剩下少数 几个硕果仅存，一名男子因为能回忆起童年的某件事而成为时光旅行的实验品。经过一段时间的培训和适应，他被送回到过去，即核战爆发前夕。他在堤岸上遇见一位女子，并且爱上了她。实验快结束时，一种高级族群来拜访他，给他一个快进到未来、躲过浩劫的机会；但他拒绝了，反而要求永远呆在过去，能和心爱的女子在一起。

遥远银河彼端，闪耀着一颗孕育魔法神力的星球——维尔哈伦。在至高天神的庇护下，这里的人民过着平静的生活。直到纪元3836年，一名神秘的黑衣人携着毁灭邪焰突然降临，却发现自己弄错了时间和地点，好在既定的命运一如他手中那本时之文书所记载……神力火焰失去掌控，到处肆虐，大祭司云轩为平定灾厄，决定在明鲸港召开“和平之祭”，选拔各国精英， 筹建灾厄特勤组，故事就从这里开始……

遥远银河彼端，闪耀着一颗孕育魔法神力的星球——维尔哈伦。这片神奇大陆上分布着四个迥然各异的国家：古老神秘的东方帝国——楻；自由开放的南洋岛国——塔帕兹；铁血尚武的西方共和国——弗尔萨瑞斯；以及，文明优雅的北联帮——艾格尼萨。各国都供奉至高天神，获取神力恩赐，虽偶有冲突，但人们大多享受着平静生活。直到纪元3836年，一名神秘的黑衣人携着未知的黑暗力量突然降临，却发现自己弄错了时间和地点，好在既定的命运一如他手中那本时之文书所记载，自此，维尔哈伦开启了新的平行世界……

遥远银河彼端，闪耀着一颗孕育魔法神力的星球——维尔哈伦。这片神奇大陆上分布着四个迥然各异的国家：古老神秘的东方帝国——楻；自由开放的南洋岛国——塔帕兹；铁血尚武的西方共和国——弗尔萨瑞斯；以及，文明优雅的北联帮——艾格尼萨。各国都供奉至高天神，获取神力恩赐，虽偶有冲突，但人们大多享受着平静生活。直到纪元3836年，一名神秘的黑衣人携着未知的黑暗力量突然降临，却发现自己弄错了时间和地点，好在既定的命运一如他手中那本时之文书所记载，自此，维尔哈伦开启了新的平行世界……

遥远银河彼端，闪耀着一颗孕育魔法神力的星球——维尔哈伦。在至高天神的庇护下，这里的人民过着平静的生活。直到纪元3836年，一名神秘的黑衣人携着毁灭邪焰突然降临，却发现自己弄错了时间和地点，好在既定的命运一如他手中那本时之文书所记载……神力火焰失去掌控，到处肆虐，大祭司云轩为平定灾厄，决定在明鲸港召开“和平之祭”，选拔各国精英， 筹建灾厄特勤组，故事就从这里开始……

1962年《堤》打破了传统电影时间与画面运动的关系。在谷歌地图中，既成的静态场景通过运镜与剪辑语言形成了电影叙事。以原片为剧情原型，以2021的技术景观与素材来重新演绎情节。影片素材由公共视角组成，从真实存在的世界角落中串联出一个女人幼年时目睹的车祸死亡现场并寻找爱上的男人，到最后她发现目睹的真相。

1962年《堤》打破了传统电影时间与画面运动的关系。在谷歌地图中，既成的静态场景通过运镜与剪辑语言形成了电影叙事。以原片为剧情原型，以2021的技术景观与素材来重新演绎情节。影片素材由公共视角组成，从真实存在的世界角落中串联出一个女人幼年时目睹的车祸死亡现场并寻找爱上的男人，到最后她发现目睹的真相。