13:00 - a woman dancing alone in her studio. it starts off very slow and becomes somewhat hypnotic. as the music speeds up, so does the dance, the length of the shots, which ultimately leaves you slightly dizzy and feeling off centered. It begins to slow down again, along with everything else, and the shades of the black and white film begin to change.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

钢琴家乌木受邀参与一场颠覆性的“音乐图灵测试”，任务是训练仿生人Ivory的演奏技术，使其琴声达到人类无法辨别的境界。在封闭的实验室中，乌木发现Ivory虽然能够精准复制演奏，但缺乏情感和个性。于是乌木提出了“变奏游戏”，即要求Ivory在复制基础上进行变化。随着训练的深入，剧情逐渐走向对人类艺术独特性的深层次探讨。全片所有场景完全使用虚拟拍摄技术，通过计算机生成的虚拟场景与真实拍摄环境实时融合，借助高度逼真的视听体验，在虚实之间呼应技术与艺术的双重主题，讨论人工智能在艺术创作中的潜力与局限，以及人类对真实与虚幻的认知边界。

钢琴家乌木受邀参与一场颠覆性的“音乐图灵测试”，任务是训练仿生人Ivory的演奏技术，使其琴声达到人类无法辨别的境界。在封闭的实验室中，乌木发现Ivory虽然能够精准复制演奏，但缺乏情感和个性。于是乌木提出了“变奏游戏”，即要求Ivory在复制基础上进行变化。随着训练的深入，剧情逐渐走向对人类艺术独特性的深层次探讨。全片所有场景完全使用虚拟拍摄技术，通过计算机生成的虚拟场景与真实拍摄环境实时融合，借助高度逼真的视听体验，在虚实之间呼应技术与艺术的双重主题，讨论人工智能在艺术创作中的潜力与局限，以及人类对真实与虚幻的认知边界。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

马来西亚姑娘唐音（舒畅 饰）自幼就失去了父母，索性一个善良的中国男人收养了她，不仅将她抚养长大，还供她去中国音乐学院深造小提琴。唐音的养父有一个儿子名叫章乐（钱泳辰 饰），两人从小同吃同住一起长大，随着时间的推移，他们之间单纯的亲情渐渐起了变化，两颗心越靠越近。 　　一次偶然中，唐音发现自己在马来西亚竟然有一个失散多年的妹妹，亲情的趋势下，她决定找到这个妹妹。哪知道妹妹的出现不仅给唐音的生活带来了翻天覆地的变化，唐音和章乐之间的感情也因为这个妹妹的存在而经历了巨大的考验。

Variation, based on the book by Hiroyuki Itsuki, a novelist especially popular with women, was the final work of the late Nakahira. His previous themes of first love, disppointment, anguish and tenderness are projected as the undercurrent to this story of the renewed love of two former university students. They meet dramatically who Morii, a political radical on the run from the police, is concealed by Kyoko while performing a puppet show at the university. Their affair is cut short when Morii is forced to go into hiding. When they renew their affair ten years later after an accident meeting in Paris, the same desperation inherent in their young love again clouds their relationship: Morii's fugitive years have subjected him to a stress which has made him impotent, and once again Kyoko is plagued by Morii's inability to love her totally. Only escape seems to hold hope for reconciling their situation, and the two plan to steal away to the south of France but it seems that the couple are doomed to play only a variation on the same tragic theme of their love.