佐藤隆太在剧中饰演奥林巴斯的技术开发人员曾根菊男。二战期间，曾根研制出适合海军使用的零战斗机。然而，当他的校友驾驶这架战斗机不幸战死后，曾根陷入了深深的负罪感中，此后生活变得十分颓废。当时粮食匮乏，患胃病的人众多。这时，一位由中村俊介饰演的医生找到曾根，提议他一起研制胃镜。起初，曾根觉得这个想法荒诞不经，但一想到能够拯救生命，他便立刻投身于研究中，重新找到了生存的意义。加藤爱扮演默默支持丈夫曾根的妻子。萩原圣人饰演曾根的同事，也是一名研究者。此外，市川龟治郎、寺岛进等也参与了本片。 该剧已于本月中旬以京都为中心开启拍摄工作。佐藤隆太表示，得知胃镜是由日本人开发出来的，“感到特别骄傲”，仅凭这一点就足以让他满怀热情地投入其中。他称：“希望大家能在剧中体会到日本人无论遭遇何种困难都绝不轻易放弃、重新振作继续前行的毅力以及亲情的温暖。”

上个世纪，亚美尼亚民族遭遇了两场重大灾难。第一次世界大战期间，他们遭受了土耳其人实施的种族灭绝；1988 年，又发生了一场毁灭性的地震。在亚美尼亚最终实现独立后，超过一百万人离开了这个国家。然而，掘墓人加尔尼克、石匠阿鲁特、东正教牧师塔图尔和小男孩瓦鲁日并不打算……

The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

Bayaraa, a weather-worn muralist who spent his glory years in Europe, has drifted back to Ulaanbaatar with nothing but a rickety rooftop tent, a box of fading paints, and Dolingor, the stray dog that shadows his every step. Each dawn he rappels down an abandoned Soviet-era factory wall, splashing mythic Mongolian landscapes across crumbling concrete while a sardonic red balloon—equal parts conscience and comic Greek chorus—floats overhead. When city officials announce the site will be bulldozed for a turkey farm, Bayaraa digs in, certain this mural will be his life's masterpiece. His only allies are a curious herder boy who's never owned a crayon, and Kosoy, a Japanese photojournalist whose camera captures the attention of fellow art tourists from Japan. While Bayaraa faces pressure from bureaucrats and developers, the deeper fight lies within: decades-old guilt over the wife and daughter he abandoned for art. Drawing on surreal realism and long, breathing takes that keep us at the artist's elbow, director J. Sengedorj weaves Mongolia's gritty urban present with its shamanic inner world. The Muralist becomes a hymn to imagination's stubborn survival—whether in spray-painted saints, a boy's first charcoal line, or the quiet forgiveness that can still bloom on a ruined wall.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 源自：https://iffr.com/en/iffr/2023/films/cave-painting

敦煌莫高窟的壁画是我国古代艺术最重要的宝藏之一，它建在戈壁边岩的峭壁上，南北长一公里，共有469个洞窟。其中主要部分是一千五百多年前，从公元4世纪到14世纪陆续修建成功的，特别是从北魏到唐末的壁画代表了我国古代艺术的优秀传统。近五十年来，曾被帝国主义分子偷去了数万种之多。这些壁画内容都是以佛教故事为题材，可以看出中国绘画最早的风格。这里介绍的35幅敦煌壁画临摹本，仅仅是敦煌壁画中极少的一部分。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

东京艺大通过“克隆复原”让法隆寺金堂壁画得以重生。这些壁画运用了在丝绸之路各个绿洲开花结果的技法。为探寻日本美的原点，踏上丝绸之路！前往敦煌、克孜尔、和田等地，追溯壁画之路。节目一边讲述秘宝流转之谜以及后世的复原尝试，一边以4K画质收录众多至宝，其中还包括首次公开的幻之王国的壁画，进而探寻7、8世纪丝绸之路沿线各国共同追求的美的世界。旅人为有森也实。

林墨窥探禁地壁画之后，精神遭受巨大冲击，同门师兄又莫名失踪，种种变故之下，他被旁人视作癫狂之人，锁于锁灵柱上。宗门上下皆打算剥夺他的修为，危急关头，林墨道出一桩令人胆寒的隐秘：天地间流转的灵气之中，潜藏着诡异存在，众人的金丹皆不受控制地自行震颤。为探寻实情，他和壁画之中神秘莫测的存在达成约定，借禁地力量挣脱缚灵锁，逼迫李长老陪同自己重返密室。再度凝望壁画之时，金色纹路映照在他的眼眸之中，这个修仙世界被外力圈养的残酷真相，缓缓揭开帷幕。