The daily life of a gay couple living together in Tehran is interrupted by an invisible third presence—the spirit of the ex-boyfriend who died six years ago who has returned and wants to live with them.

The daily life of a gay couple living together in Tehran is interrupted by an invisible third presence—the spirit of the ex-boyfriend who died six years ago who has returned and wants to live with them.

The daily life of a gay couple living together in Tehran is interrupted by an invisible third presence—the spirit of the ex-boyfriend who died six years ago who has returned and wants to live with them.

The film sees Dutch artist Renzo Martens travel through the Congo armed with a camera and an enormous neon sign that reads, in English, ‘Enjoy Poverty (please)’, which he erects at various intervals amid desperately poor Congolese villagers. 　　There’s something incredibly uncomfortable about watching someone with his own agenda filming the tragedy of poverty stricken Africa. He befriends the villagers and interviews them about the difficulty of their situation, their malnourished children and the fact that they barely make enough to get by. 　　They put their trust in him, but his own agenda (to put up his signs in their villages) is entirely foreign to them. Even as he explains to them that their situation is unlikely to change, the bewilderment on their faces is clear. He’s here, what can they do? To the audience it verges on a kind of exploitation. 　　Until you realize what’s really going on. 　　http://viewoncanadianart.com/2009/05/07/loved-renzo-martens-enjoy-poverty/

The film sees Dutch artist Renzo Martens travel through the Congo armed with a camera and an enormous neon sign that reads, in English, ‘Enjoy Poverty (please)’, which he erects at various intervals amid desperately poor Congolese villagers. 　　There’s something incredibly uncomfortable about watching someone with his own agenda filming the tragedy of poverty stricken Africa. He befriends the villagers and interviews them about the difficulty of their situation, their malnourished children and the fact that they barely make enough to get by. 　　They put their trust in him, but his own agenda (to put up his signs in their villages) is entirely foreign to them. Even as he explains to them that their situation is unlikely to change, the bewilderment on their faces is clear. He’s here, what can they do? To the audience it verges on a kind of exploitation. 　　Until you realize what’s really going on. 　　http://viewoncanadianart.com/2009/05/07/loved-renzo-martens-enjoy-poverty/

《享受美吧》节目由睿智美的队长李锐、健康美的代表刘畊宏、女神美的代表柳岩和青春美的代表李川及科技美的代表机器人小绿共同组成“美丽特工队”，为前来求助的素人们解决“美的困惑”，探讨美的标准。话题涉及美的方方面面，整容、护肤、减肥、健身、时尚、美妆都在节目的讨论范围内，而美丽特工队队员将从5个全然不同的视角为素人提供解决方案。每场节目都将由100位现场观众进行投票，得票最低的特工队队员还将接受“美的代价”惩罚。

《享受美吧》节目由睿智美的队长李锐、健康美的代表刘畊宏、女神美的代表柳岩和青春美的代表李川及科技美的代表机器人小绿共同组成“美丽特工队”，为前来求助的素人们解决“美的困惑”，探讨美的标准。话题涉及美的方方面面，整容、护肤、减肥、健身、时尚、美妆都在节目的讨论范围内，而美丽特工队队员将从5个全然不同的视角为素人提供解决方案。每场节目都将由100位现场观众进行投票，得票最低的特工队队员还将接受“美的代价”惩罚。

本部先锋黑白短片，赤裸裸地记录下了“孤独”孩子们的生活细节。这群生活在阴暗封闭的精神病院里的孩子们，被归为心里残疾的异类。他们重复着神经性循环的动作，发出充满惊恐和狂躁的哀嚎，眼睛里透着无助又痛苦的神情。这群本该天真快乐的孩子们，却被关在如监狱般黑暗的医院中。他们哭泣，他们叫喊，时时刻刻的饱受着长久的煎熬和无尽的折磨。 　　本片荣获1989年布鲁塞尔国际短片节最佳纪录片金奖，意大利都灵国际短片节金奖，法国Clermont-Ferrand短片节金奖，那穆尔媒体艺术节金奖等。

本部先锋黑白短片，赤裸裸地记录下了“孤独”孩子们的生活细节。这群生活在阴暗封闭的精神病院里的孩子们，被归为心里残疾的异类。他们重复着神经性循环的动作，发出充满惊恐和狂躁的哀嚎，眼睛里透着无助又痛苦的神情。这群本该天真快乐的孩子们，却被关在如监狱般黑暗的医院中。他们哭泣，他们叫喊，时时刻刻的饱受着长久的煎熬和无尽的折磨。 　　本片荣获1989年布鲁塞尔国际短片节最佳纪录片金奖，意大利都灵国际短片节金奖，法国Clermont-Ferrand短片节金奖，那穆尔媒体艺术节金奖等。

Paul Fejos于1928年拍摄的默片巨作。展现了提高而不是破坏简单感人的电影故事的精湛技巧，创造性地呈现了普通的工人阶级形象，不傲慢，不羞怯，没有任何的虚伪。导演Fejos对于简单不世故的人与社会环境进行的抗争充满兴趣，这种抗争表现为或漠不关心或充满敌意，这一兴趣持续成为了他此后电影的亮点所在。 　　影片主要讲述了主人公Mary和Jim长期痛苦的被困于一种城市生活极度的孤独中，最后通过爱情逃离了束缚。影片通过具有强烈的启发性的电影艺术表达了城市生活的困惑与压力，同时讲述了处于工业化环境下的城市里生活的人的故事。