《女孩娜迪亚》讲述了一个六岁的罗姆女孩在生日那天向耶稣许下了一个难以实现的愿望的故事。

奇迹之泉〉导演本桥成一环保纪录片力作！ 　　获奖无数 　　因為人類污染了它，我不能一走了之！ 　　隱含著種種無限的滄涼、孤寂、無助 　　 　　简介：〈娜迪亞的村莊〉以內斂的手法，在美麗的村莊裡呈現百姓的生活，卻隱含著種種無限的滄涼、孤寂、無助。如因為學業問題，娜迪亞的媽媽帶著孩子們去外面求學，留下父親一人。所飼養的羊、豬的死亡，老主人對它們的懷念。還有在「輻射危險區、禁止進入」的告示牌下，送葬隊伍的視若無睹，並對已故親友喊著，你終於回家了。導演希望能從這十五個人中找到老人的影子，一種對故鄉的堅持。所以他花了三年時間，拍攝小女孩娜迪亞的求學歷程，以及這六戶人家的生活點滴。 　　 　　「我問老人，何不離開污染的土地？老人回答，因為人類污染了它，我不能一走了之。」這是導演木橋成一，在懷念那位已逝老人之後所拍的紀錄片「娜迪亞的村莊」的片頭對話。他僅以此片獻給這位在車諾堡核災後在災區巧遇的老人－阿卡迪?拿波沁

《权力的游戏》制片人弗兰克·多尔格要为德国ZDF电视台开发一部全新惊悚剧集《康考迪亚》（Concordia），设定类似《少数派报告》，数百万台摄像机连接到一个人工智能系统，该系统监控公民生活的方方面面，并在犯罪嫌疑人犯罪之前阻止他们，整个城市没有枪支，犯罪率为零，直到有一天，在郊区发现了一具尸体……该剧集已邀请《弗兰肯斯坦传奇》的编剧Mike Walden撰写剧本。

为了逃离身为职业运动员的刻板生活，仍处于事业黄金期的蝶泳运动员纳迪亚决定在奥运会之后退役。在完成最后一场比赛后，她迎来了一个自我怀疑的夜晚。再多的荣耀、酒精和陪伴都不能解答她内心的疑问：在运动生涯之外的世界，她如何寻找到自我的存在和定位？影片运用极有感染力的视听语言，将奥运比赛的紧张氛围和赛后的松弛茫然交接在一起，展现了运动员们的多面生活。影片中的主角们在现实中也是蝶泳运动员，她们的本色出演为影片增添了光彩。

故事讲述乌娜13岁时与雷有过一段禁忌情缘，甚至涉及到猥亵未成年少女。15年后，乌娜突然来到雷的办公室寻找答案，人到中年并已经开始新生活的雷不得不面对那段过往。

致瘦弱却勇敢的灵魂——五个来自斯威士兰的孤儿，将他们曾经遭受的创伤融合进创意的笔触，在这些孩子原创的画面里，我们看到的，是一个瘦弱却勇敢的年轻女孩，挑战未知的冒险，这是liyana的故事，也是斯威士兰孩子们的故事。

老妪娜巴特和丈夫伊斯坎德尔生活在远离村庄的偏远小屋。伊斯坎德尔曾是森林巡逻队队员，现在病重在家休养。而战争肆掠此地已久，他们的儿子也在前线牺牲了。老妪家唯一的经济来源是一头奶牛，她隔些日子会去村子里卖牛奶。战争的阴云笼罩着大地，村庄渐渐人去楼空，老妪的生活也举步维艰…… 　　《娜巴特》改编自阿塞拜疆导演Elchin Musaoglu在苏联解体时期听到的一则故事，首映于2014年威尼斯电影节地平线单元。

一位名叫Nona的奶奶原本计划计划在休息日与世隔绝，观看她最喜欢的摔跤比赛。但当她5岁的孙女Renee意外被送来时，她在自己最喜欢的两件事之间犯起了难。孙女想让她陪着玩，而平时溺爱孙女的Nona此时真的想看摔跤比赛，两人在一番对峙之后达成了爱的妥协。

故事讲述乌娜13岁时与雷有过一段禁忌情缘，甚至涉及到猥亵未成年少女。15年后，乌娜突然来到雷的办公室寻找答案，人到中年并已经开始新生活的雷不得不面对那段过往。

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses