The film tells the story of a woman in her thirties who goes back to her hometown for the summer and reunites with a former lover; she is torn between her “real life” at university with her boyfriend and the “fantasy” of her romance in her hometown.

阿达，一个美丽的服装设计师，她和男友编剧保罗的感情看起来不冷不热。古多是保罗的搭档，他因为自己的爱情困扰时常向保罗诉苦，并请求帮助。保罗对此无可奈何。阿达建议把自己的助手，新来的年轻设计师丽萨介绍给古多，不想丽萨却疯狂地追求起保罗。 　　制片人阿尔方斯是一个花花公子，他的爱情理论刺激了保罗，使他最终接受了丽萨的爱情，并在阿达怀孕之际离开了她。艾玛是一个没有才华，也没有爱情的女歌手，她无意中的几句话触动了女友如云的阿尔方斯内心的空虚，因而获得了阿尔方斯的爱。阿方斯的女助手尼娜和电影导演伊夫彼此相恋，但是尼娜的内心却爱着阿尔方斯。丽萨的时装展大获成功，她向阿达表明心迹，原来她所做的一切只是想成为像阿达那样的女人。 　　伊夫根据阿达和保罗的故事拍了一部电影，影片美好而感人的结局使阿达和保罗重获爱情。

The film tells the story of a woman in her thirties who goes back to her hometown for the summer and reunites with a former lover; she is torn between her “real life” at university with her boyfriend and the “fantasy” of her romance in her hometown.

Anand Patwardhan's passionate, detailed chronicling of injustices in India has made him the filmmaking conscience of his nation. In The Name of God, Jai Bhim Comrade, and Father, Son, and Holy War stand not only as first-rate documentaries, but as direct interventions on behalf of justice and compassion. After years of work, Patwardhan is back with perhaps his most urgent and thorough film yet. 　　Divided into eight chapters, Reason sets out to chart what Patwardhan sees as India's slide away from the complex tumult of a secular democracy towards hardening divisions of power, caste, and religious belief — lines that are enforced increasingly by violence.

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

Experimental film, white specks and shapes gyrating over a black background, a light-striped torso, a gyrating eggcrate. One of the first Dadaist films.

Experimental film, white specks and shapes gyrating over a black background, a light-striped torso, a gyrating eggcrate. One of the first Dadaist films.

The earth, life and death, indifference and affection, abandonment, faith. Words and silence, light and shadow, the endless survival, the inability to love. A trilogy set in 2017, 2028, 2037. Three women of different generations and backgrounds cross paths; their tentative steps to fully exist evoke fragments of stories, bringing real life experiences and events into each character.

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

BACKGROUND 　　Xu Tong is a documentary director. His work “Wheat Harvest”, was opposed by a small group of people for violating the privacy of sexual workers and copyright, ironically, these complaints help to let more people to know and watch this film. 　　WuHaoHao failed to film Xu Tong and used his materials about such incident as he couldn't get the copyright. Throughout the process of production, he criticized himself, the society, documentary format by deconstructing video, sound and text he got when he interview Xu Tong. Like using paper cutting, or his individual voice over to repeat the interview. 　　CONCEPT 　　The way the director criticizing documentary format by deconstructing the video, sound and text of his interview with Xu Tong inspired me to deconstruct all the Chinese characters for all the titles on the poster. 　　背景 　　徐童，紀錄片導演，他的作品《麥收》因涉及侵權與偷拍性工作者而引起小範圍反對，但諷刺地，這卻讓更多的人關注此片。 　　吳昊昊因未能得到徐童的允許，在製作該視頻作品中，所以他只能利用剪紙，或用個人旁白來重複訪問內容等方式製作。他解構視頻、聲音、文字的同時，發現原來也在批判自己、社會、和記錄片。 　　概念 　　海報的設計概念來自導演透過對紀錄片的視頻，聲音，文字，不斷解構而進行批判的這個行為，故海報中全部標題的漢字都被分拆，解構。