在地球第六次大规模死亡中，人类灭绝了。他们的技术最近已经取得了进步，能够解构进化算法，让人造生命在地球上发展。新的生命会觉醒，学会看，并试图理解。它发现了人类的电影史，并通过对其的反思，开始获得对自身的认识和对神的信仰。可以说，人工角色是去电影院的，在那里我们可以共同看到机器学习和其他针对纹理的图像分析算法生成的图像。我们和我们的世界不能完全简化为物质的信仰，事实上还有另一种形式，深深地铭刻在我们自己的计划中，定义了我们的思想。自然是根据构成我们宇宙的物质来计算的，还是宇宙是计算的结果？数字的存在是独立于一个人的意识，还是虚构的？数学对象及其概念是以我们讲故事的方式创造的吗？雷纳·科尔伯格评论道：“它必须活一次，做两次梦。” 　　‘In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. New life awakens, learns to see and tries to understand. It discovers the film history of humankind and through reflection thereof, begins to gain an awareness of itself and to believe in their gods. The artificial character goes to the cinema so to speak, where we collectively see images produced with machine learning and other image analysis algorithms used against the grain. The belief that we and our world cannot be solely reduced to matter, that there is in fact another form, is deeply inscribed in our own program and defines our thinking. Does nature calculate on the basis of the stuff that makes up our universe, or is the universe the result of calculations? Is the existence of numbers independent of one's own consciousness, or are they fictional? Are mathematical objects and their concepts created in the same way in which we tell stories? It has to be lived once and dreamed twice,’ comments Rainer Kohlberger

在地球第六次大规模死亡中，人类灭绝了。他们的技术最近已经取得了进步，能够解构进化算法，让人造生命在地球上发展。新的生命会觉醒，学会看，并试图理解。它发现了人类的电影史，并通过对其的反思，开始获得对自身的认识和对神的信仰。可以说，人工角色是去电影院的，在那里我们可以共同看到机器学习和其他针对纹理的图像分析算法生成的图像。我们和我们的世界不能完全简化为物质的信仰，事实上还有另一种形式，深深地铭刻在我们自己的计划中，定义了我们的思想。自然是根据构成我们宇宙的物质来计算的，还是宇宙是计算的结果？数字的存在是独立于一个人的意识，还是虚构的？数学对象及其概念是以我们讲故事的方式创造的吗？雷纳·科尔伯格评论道：“它必须活一次，做两次梦。” 　　‘In the sixth great mass mortality of the earth, humankind became extinct. Their technology had recently progressed so far as to deconstruct the algorithms of evolution and allow artificial life to develop on Earth. New life awakens, learns to see and tries to understand. It discovers the film history of humankind and through reflection thereof, begins to gain an awareness of itself and to believe in their gods. The artificial character goes to the cinema so to speak, where we collectively see images produced with machine learning and other image analysis algorithms used against the grain. The belief that we and our world cannot be solely reduced to matter, that there is in fact another form, is deeply inscribed in our own program and defines our thinking. Does nature calculate on the basis of the stuff that makes up our universe, or is the universe the result of calculations? Is the existence of numbers independent of one's own consciousness, or are they fictional? Are mathematical objects and their concepts created in the same way in which we tell stories? It has to be lived once and dreamed twice,’ comments Rainer Kohlberger

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

Diego is 17 and is full of life, yet fragile. His best friend Antonio knows and indulges his weaknesses, but he would also like to see him strong and masculine. One night they meet Maria, a breezy natural beauty. To show that he is a "real man", Diego, is ready to do anything, even to force himself to do things he would never have wanted to do. Written by The Open Reel

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

While Jackie Raynal is best known as the former programmer of two of New York’s premiere art cinemas—the Carnegie Hall and the Bleecker Street—she began her career in film nearly forty years ago in Paris, where by 1964 she was the youngest film editor in France. Challenged by Zanzibar patroness Boissonnas to stop editing other people’s films and make her own, Raynal traveled to Barcelona, where she completed Deux Fois in a single week. One of the most enigmatic of the Zanzibar films, it is composed of a series of unconnected episodes, some of which are repeated. The film begins with a prologue in which Raynal (carefully made-up and fashionably dressed) is seated, head lowered and hands joined in prayer, before both her dinner and her film. While Deux Fois lays claim to the Surrealist legacy of Buñuel and Cocteau, it gained critical recognition as a pioneering work within the burgeoning feminist cinema.

30年代，舞台演员Tyler Walker在他的恋人Myrna抛弃他跟别人结婚之后精神崩溃，整天在他的豪宅里跟一个打扮成Myrna模样的时装模型为伴，终于在一天晚上，Tyler上吊自杀。许多年后，深陷破产危机的Cates一家突然听说他们继承了Tyler的老房子，急于寻找片瓦遮身的Cates夫妇当即带着儿子Scott和女儿Robin前往。经历多年风雨，这所老房子变得残破不堪，而且还被暴躁成性的Silk为首的街头帮派占据。就在Cates一家忙于应付Silk及其党羽的时候，Tyler的鬼魂跑出来制造了更多混乱……

A Latin teacher, tired of fighting, gives all her students a very high grade to win peace in her class. 　　Unfortunately, this qualifies them for a Latin competition taking place in Naples…

The dates of the exhibit have been set. Bernd Hoffmann is in Lisbon, which he had already visited in 1974, when he met the young artist Hanna Brauer. The exhibit will present paintings by both artists. Bernd is waiting for Hanna, but neither she nor her paintings seem to have arrived in Portugal. And yet he knows that the woman is in Lisbon. He looks for her among his old revolutionary friends, then turns to the police for help. He discovers that Hanna is dead. A natural death? Suicide?

A woman’s dreams become haunted by a titan from Portuguese mythology who sought to destroy Vasco da Gama’s ship, preventing him from ever reaching India. Questions of what could have been emerge across ends to colonial occupations in India and Africa.