究竟是「存心而為」，還是「順其自然」？我們巧合地在數千百年後跟大自然共存，在水稻葉縫隙之下，奇妙地把張牙舞爪的慾望克制，這是自覺、巧合，還是命中註定？

尼克拉是一位失业的音乐老师，他在找到一个住的地方之前必须住体育馆，后来他在格拉夫的公寓里找到一个公共房间，这个房间前任居民，一位老太太死于一年前，她养的一只猫仍然被锁在房间里，长的即健壮又肥胖，不久尼古拉和他的邻居发现了神秘的事情，房间里有一扇通向巴黎的空窗户，喜剧开始的时候，这些俄国人能够抵挡这发现了的利益诱惑吗？

1969年当苏联坦克开进布拉格的小巷中时，一群反叛的摇滚青年合作拍摄了这部60分钟的音乐闹剧，导演是一个FAMU的学生，影片拍完后就被禁直到1990年才浮出水面。 　　在这部传奇地下电影中，他们极尽讽刺搞怪之能事，以音乐和无政府主义的姿态对抗着捷克当局和苏联军队，影片在音乐表演的间歇穿插进一个个短小却火力猛烈的故事，片中包括了数支活跃在上世纪60年代末的布拉格地下迷幻摇滚名团，他们大多数都于70年代严峻的社会形势下而解散，甚至没有发行过一张唱片，而此片则成了他们唯一能看到的影像。

In The Practice, Argentine yoga instructor Gustavo resides in Chile, and a recent injury prohibits him from continuing his yoga practice after losing his wife and home, which leads to a variety of absurd interactions in this naturalistic comedy.

In The Practice, Argentine yoga instructor Gustavo resides in Chile, and a recent injury prohibits him from continuing his yoga practice after losing his wife and home, which leads to a variety of absurd interactions in this naturalistic comedy.

《通向行星路》的制作期长达三年，它是一部雄心勃勃的意识形态电影，包含着极具开创性的特效和精湛的手工模型作品。这部影片对库布里克《2001太空漫游》（2001：A Space Odyssey，1969）中对失重状态、灼热的星球和旋转式的太空站模型的在现实主义描写有着重要影响。 　　Klushantsev的《通向行星路》捕捉到了太空竞争的时代思潮。按照莫斯科电影官僚的指示，他在影片中增加了苏联第一个绕地卫星的模型。结果，这部五十分钟电影在苏联激起了观众的恐慌。据报道，电影片段在美国电视播放时，有些观众恐慌得晕厥过去。 　　这使得他随后的影片也是他唯一一部标准长片——1962年的《暴风雨之星》让人有点失望。这部影片是这一时期苏联科幻电影知名度较高的一部，故事由一队到金星探索的苏联航天员展开，队伍中有四个男人，一个女孩，还有一个笨重的机器人（这个机器人很明显是效仿了米高梅影片《禁忌星球》（Forbidden Planet，1956）中的机器人角色）。当两个宇宙飞船被流星摧毁时，这一队人被迫在星球表面下降着陆。他们一着陆就遇到恶毒的蜥蜴人，掠夺性的翼龙和食人的植物，而最后，他们得以逃离，回到太空中。

Gerardo Vallejo's first film tells the story of the Reales family, which the director had already approached in Las cosas ciertas, a previous short film made within the context of the Santa Fe Documentary Film School. As Vallejo would recall later: "We wanted to discover, first, and create, later, using each character's life as a starting point. We shot what we could for a certain time until we ran out of film. Then we printed and copied it. The analysis of that material –plus new footage we shot later– determined a narrative structure. The initial testimonial goal was later enriched by reenactment sequences filmed with the same protagonists." The result is one of the best documentaries in the history of Latin American cinema. It was the second politically committed film made by the Cine Liberación group after The Hour of Furnaces, in which Vallejo also collaborated. A new print will be screened, obtained by APROCINAIN (Association for the Support of the Audiovisual Patrimony and the National Film Library) thanks to the kindness of Eva Piwowarski. 　　Gerardo Vallejo was born in Tucumán, Argentina, in 1942. After graduating from the Santa Fe Film School, he made the short film Las cosas ciertas. He was an assistant director in The Hour of the Furnaces (1966-68) and created the film series Testimonios de Tucumán (1968-69). He directed, among others, The Rigorous Fate (1985) and Martín Fierro, el ave solitaria (2006).

自然主义电影，倡导强身健体的科教片，早期的剥削片抑或是纳粹上台前的种族优化论宣传？不过有一点可以肯定：Leni Riefenstahl（她本人在里面首次“触电”，本色出演其最初的职业选择——舞者，不过我是不知道哪一个是她。）的纪录片《奥林匹亚/1938》绝对受到此片的影响！

Pisko’s mother is human but her father is a crab. Finding love being half-crab isn’t as easy as you’d think.

桥水基金创始人雷伊达里奥署名的一部动画片。动画片简明扼要的介绍了作者自己的成功方法论。