For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

Aaron, an apprehensive 18-year-old, is stuck. Stuck in a small town, helping his father in a job he hates. His life is soon turned upside-down when he meets Mike at a party. At first, Aaron denies his feelings but an unexpected kiss changes everything. As he enters into a hidden relationship with Mike, Aaron finds that some secrets are harder to keep than others. The more he explores his sexuality, the more he begins to consider the impact this may have on the rest of his life.

Aaron, an apprehensive 18-year-old, is stuck. Stuck in a small town, helping his father in a job he hates. His life is soon turned upside-down when he meets Mike at a party. At first, Aaron denies his feelings but an unexpected kiss changes everything. As he enters into a hidden relationship with Mike, Aaron finds that some secrets are harder to keep than others. The more he explores his sexuality, the more he begins to consider the impact this may have on the rest of his life.

第34回フジテレビヤングシナリオ大賞で大賞に選出された、市東さやかによる脚本をドラマ化した「瑠璃も玻璃も照らせば光る」。豊嶋が演じるのは、うつ病を抱える母の代わりに家事を担うヤングケアラーの高校生・木村ひかるだ。母に「がんばらなくていいよ」と口癖のように伝えて家を出るひかるの日課は、病院に立ち寄り、意識のない父に挨拶をしてから登校することだった。ある日、ひかるは親友から演劇部の照明係を依頼され、両親のことを気にしつつも承諾。見学の際、真剣に練習に励む転校生・立石瑠璃と出会う。

第34回フジテレビヤングシナリオ大賞で大賞に選出された、市東さやかによる脚本をドラマ化した「瑠璃も玻璃も照らせば光る」。豊嶋が演じるのは、うつ病を抱える母の代わりに家事を担うヤングケアラーの高校生・木村ひかるだ。母に「がんばらなくていいよ」と口癖のように伝えて家を出るひかるの日課は、病院に立ち寄り、意識のない父に挨拶をしてから登校することだった。ある日、ひかるは親友から演劇部の照明係を依頼され、両親のことを気にしつつも承諾。見学の際、真剣に練習に励む転校生・立石瑠璃と出会う。

讲述一个平凡女孩被外科医生和一个女人合谋设计整容变成另一个女孩，但是纸包不住火，这个假面的秘密最终会被人揭穿吗？

本片讲述的是一群留守儿童的故事。在大山里，总有那么一群儿童，站在村口遥望着远方，希望能看到熟悉又陌生的身影，那是他们的亲人，每年只见过几天在外打工的父母。

本片讲述的是一群留守儿童的故事。在大山里，总有那么一群儿童，站在村口遥望着远方，希望能看到熟悉又陌生的身影，那是他们的亲人，每年只见过几天在外打工的父母。

开色情宾馆的丈夫，曾经是母亲的情人，在北海道湿地上，芦苇就像女人空虚的身体：割开苇管流出来的只有沙子，和溢出心灵的黑暗......　　情欲，是难堪的事？还是……爱情这种东西，一开始就没有。　　北海道钏路一家酒店发生火灾，死者是附近一间宾馆的前业主，现年三十岁的幸田节子。鉴识现场判断疑是死者浇汽油引火自焚，指证遗体的男子是前晚与她共枕的会计师泽木昌弘。幸田节子的丈夫喜一郎曾经是母亲藤岛律子的情人，因此节子总是称呼丈夫“爸爸”。　　经过十年的婚姻。某天喜一郎发生严重的车祸，她亲眼目睹母亲律子匆忙赶医院。节子身亡四个月后，喜一郎也因为肺炎去世。泽木却在此时收到节子生前诗社歌友寄来的邮件，里面是一张节子在夏天时拍摄的快照。不久，刑警都筑前来北海道钏路调查幸田节子自焚身亡的事件，希望查清案件中的诸多疑点......　　幸与不幸，都会让人说出意外的谎言。情欲，又是多么难堪的事情？