无数的光芒闪耀着五颜六色，浮游在空中的无重力空间——“知识之箱”。 那里有着众多的世界、众多的时间、众多的人。 杜娅尔和多萝茜两人在那里与敌人战斗着。 敌人，那是侵食世界的存在——病毒。 被病毒污染的世界，非得消除掉不可。 这就是她们的任务、她们的工作。 在某个时刻，杜娅尔和多萝茜感知到了新的病毒的出现。 在那里，有一位被病毒袭击的少女。 将少女救出来的两人，静静地等待着她醒过来。 少女是什么人——来自何方，去往何处。 不久后，少女醒了过来。 这位少女自称为“莉莫”，不断低语着一句话——。 “不回到花田的话……”。

因为今年春天导入的“校园律师制度”，新人律师田口章太郎（神木隆之介）被律师事务所的老板高城（南果步）派遣到青叶第一中学。监护人水岛（堀内敬子）正在向班主任望月（岸井雪乃）抗议，因为自己的女儿受到了体罚。田口说，“你现在的行为是强行妨碍营业”，赶走了监护人。校长仓守（小堺一机）因为大事化小和平解决心情很好，但是教务主任三浦（田边诚一）对田口的做法提出反对。几天后，体罚问题发展成了谁也没想到的状态…

In Postscript, the drowned footage recovered from the Karaj Dam in Iran—where French filmmaker Albert Lamorisse crashed in 1970—resurfaces. The work is anchored by a phone conversation with an Iranian archivist, speculating on Lamorisse’s death and the restoration and circulation of his final images.

In Postscript, the drowned footage recovered from the Karaj Dam in Iran—where French filmmaker Albert Lamorisse crashed in 1970—resurfaces. The work is anchored by a phone conversation with an Iranian archivist, speculating on Lamorisse’s death and the restoration and circulation of his final images.

该影片故事设定在1986年，即《招魂3》的五年后。沃伦夫妇因艾德在第三部中经历恶灵事件而突发心脏病，已正式退休，不再从事驱魔工作。他们仍会到大学巡回演讲，但连这类机会也在逐渐减少。一些事件最终还是让他们重返战场。

The film will offer viewers a Hrubin-style summer picture of a small village and its inhabitants, where several love relationships intertwine. A young widow with a teenage daughter comes to live with her father for the summer. The mother has an affair with the local gamekeeper. Her daughter also likes him, but she is overtaken by a local bachelor of the same age. Another pair consists of two young children of school age and their childhood hobbies. Summer loves evolve and fade, summer ends.

西弗吉尼亚州偏远的格林班克小镇是世界上最大的射电望远镜的所在地，这台望远镜能够捕捉到来自宇宙各处的微弱信号。为了实现这一功能，望远镜被安置在“静默区”，这是美国唯一一个禁止使用Wi-Fi和手机信号的地方，创造了一个在当代世界中无与伦比的寂静环境。

暂无剧情简介

N is crossing the desert to reach the north of Africa and make an illegal crossing to Europe. After a robbery, he finds himself left alone in Tunisia. 　　Finally, he decides to cross the sea alone towards a European country. He will steal a boat and begin his journey, except that the ship breaks down in the middle of the sea. 　　From that moment on, N will undergo a special and unique voyage, he will discover different and infinite spaces, will have intense and fleeting encounters, and will meet another altered image of himself.

战前日本最重要的无声电影之一。 　　This resolution recurs in several of Hiroshi Shimizu's silent films, of which Eternal Heart (Fuei no Shiratama, 1929) was shown at Pordenone. This film examines different aspects of modernity through the personalities of two sisters. The elder is in love with Mr Narita, but he marries the younger, only to find that she neglects him and spends her time attending parties and drinking. Thus summarised, one might read the film as essentially conservative - an indictment of a "modern" woman who fails in her wifely duties. But the older sister also personifies an aspect of modernity, since she works as a typist in a Tokyo office. Courted by her boss, she is introduced to his children, who speak scathingly of her profession, and criticise the morality of working women. Here, Shimizu's sympathies are clearly with the modern, professional woman against the spoilt and judgemental upper class. The film's intelligence, in fact, lies in its ambivalent attitude to the modern - an ambivalence that one can trace through Shimizu's later and finer silent films. Unfortunately, the narrative resolution is unsatisfactory; the hero's departure from Japan and the heroine's marriage to her boss fail to answer the problems that the film has posed. The final escape seems a contrivance, though it may be that this failing is to be blamed on Kikuchi Kan, author of the original novel, rather than Shimizu. 　　http://www.midnighteye.com/features/pordenone-silent-film-festival-2005.shtml