鼠鹿為渡河智取兇猛鱷魚，簡單的情節卻因鼠鹿形象不時幻化，轉喻為一面反射身分的鏡子。受紙紮文化及民俗藝陣表演的靈感啟發，改編東南亞民間故事〈鼠鹿過河〉，引導觀者從蒼蠅的複眼視角，探索台灣在地文化與世界的寓意經驗連結

鼠鹿為渡河智取兇猛鱷魚，簡單的情節卻因鼠鹿形象不時幻化，轉喻為一面反射身分的鏡子。受紙紮文化及民俗藝陣表演的靈感啟發，改編東南亞民間故事〈鼠鹿過河〉，引導觀者從蒼蠅的複眼視角，探索台灣在地文化與世界的寓意經驗連結

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

Project 阶段。吕萨纪录片大会放映。