The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

由中央电视台新影集团与山西省委宣传部、山西广播电视台、山西省旅游局联合摄制的高清航拍纪录片《飞越山西》，以全新的视角，高规格的航拍创作团队，尖端的航拍器材，多门类的拍摄手法，在国内率先开创了以航拍为主的纪录片概念，掀开了中国纪录片的新篇章。 山西是善与美的完美结合体，《飞越山西》以大篇幅航拍为主，地面特种拍摄为辅的纪录方式，通过专业的空中与地面调度、宏观与微观的镜头展示，唯美与厚重的画面语言、民族与时尚的音乐元素，匠心独运的视觉创意，创造性地展现钟灵毓秀的表里河山。该片分为《飞越山西 山河》（自然地理篇）、《飞越山西 岁月》（人文历史篇）、《飞越山西 家园》（转型发展篇）三集，每集25分钟。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

结合历史资料与现场拍摄古建筑细节，跟循着梁思成的步伐到山西寻访古建，探究中国古建筑的结构之美。

《古建里的山西》走进中国现存规模最大、保存最完整的唐代木构建筑实例佛光寺、中国现存最早的皇家祭祀园林晋祠、拥有元代壁画艺术宝库的永乐宫、世界现存最古老最高大的木塔——应县木塔等4座古建筑，把古建筑打造成了活的空间，让观众在中国智慧的结晶中，感受中国美学的永恒魅力。

人说山西好风光节目中，来自山西11个地市的市委书记、市长或副市长登台亮相。他们不仅要为自己的城市做推荐演讲，还要正面PK，只有优胜者才能晋级。

《人说山西好风光》是国内一档旅游城市品牌推介竞演节目。以“给你一个去山西的理由”为出发点和落脚点，让11地市在电视节目中充分展示自己。节目将设置初赛、复赛、半决赛及决赛9场比赛和1场颁奖晚会。并采用一种全新的比赛方式，让更多的人认识山西，了解山西，爱上山西。