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.

画师高原（王冬 饰）因生活失意一心寻死，他雇到一名理发师来杀自己。然而在其经纪人关平（王辰昊 饰）的帮助下，一场拍卖会改变了他的境遇，也把他的命…

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.

暂无剧情简介

民国初年，美术学院女生沈玉偶遇神秘诡异的画师，他的预言竟在沈玉身上一一应验，背井离乡的她遭遇未婚夫的抛弃、同学的讥笑，一夜之间，生活天翻地覆。幸有实习助教乔治一直鼓励她、安慰她，沈玉渐渐走出情感的阴霾，并对乔治然起特殊的情感。然而乔治的身边永远不缺貌美的女子，他若即若离的态度让沈玉深感不安，当洋派美女陆云出现在乔治身边，沈玉彻底丧失了信心，将自己遭遇的一切归咎于平凡的貌。神秘画师自称有祖传秘换脸之术，可助沈玉与画中美女交换五官，每次交换都需要付出一些代价。为了乔治，也为了更好的将来，沈玉与画师达成换脸交易。随着画师给沈玉换了眉毛、鼻子、嘴巴、脸型，沈玉开始受到身边人的青睐，与乔治的关系也更近了一步。沈玉初尝爱情的甜美，身体也开始出现诡异的变化，嗅觉、味觉的丧失，噩梦中恐怖女子的纠缠，在现实与幻境中，身心俱疲。喜欢钻研玄幻之术的男同学陆平发现了沈玉的异常，通过蛛丝马迹调查处画师真正的目的是利用沈玉作为提升修为的祭品。此时，乔治也向沈玉表露真情，解除之前的种种误会，沈玉决定解除与画师之间的交易。沈玉的行为彻底激怒了画师，更抓走乔治逼沈玉就范。沈玉和陆平联手，想彻底消灭画师，然而真相远没有想象的简单，更大的危机正等着他们……

苏洛瑶因父兄被害，为接近真相，她凭借精湛画技与过人智慧，毅然潜入神秘莫测、藏污纳垢的百珍司。过程中，苏洛瑶邂逅隐忍的少年将军谢凌风，双强联手破局。

苏洛瑶因父兄被害，为接近真相，她凭借精湛画技与过人智慧，毅然潜入神秘莫测、藏污纳垢的百珍司。过程中，苏洛瑶邂逅隐忍的少年将军谢凌风，双强联手破局。

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.

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