21世纪科学家开发观测星空的新手段，探索的成果改变了我们对宇宙的认知，更遥远的目的地在向我们招手。本片以18个小时的篇幅，从各个方面详尽讲述人类的目光和科技能达到的宇宙深处。

今年に入って、株価が乱高下を繰り返すなど、世界のマネーが暴れ出している。株も債券も危ないと、投資家たちは逃げ惑っている。一方、世界には１京円を超える膨大なマネーがあるにも関わらず、貧困層が暮らす地域など、本当に必要なところにマネーは届かない。マネーシステムは本来、人の役にたつためにあるはずだ。その信念に動く金融工学者たち。アメリカの貧困地域の復活のさま、ギリシャに乗り込んでの動きを追っていく。

聚焦未成年人司法保护，讲述了未成年人检察小组初创，检察官林之桃与助理检察员白恩宇，为了孩子们，携手对抗人性之恶的故事。 　　始于悬念，终于救赎；拨开迷惘，山止川行。

伊尼奥和罗莎是一对新婚夫妇，没想到他们结婚才几个月，西班牙内战爆发。伊尼奥作为亲共分子被弗朗哥独裁政府抓捕，在被押解的路上，伊尼奥想办法逃回了家中。为躲避再一次被捕，伊尼奥在罗莎的帮助下，藏身于自家的地洞里长达30年。

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

コリオグラファー宮本賢二×漫画家上條淳士×フィギュアスケート 　　超異色のコラボレーションアニメ作品！！

Dichter Nebel führt zur Absage aller Abflüge und Landungen auf dem Flughafen Berlin-Tempelhof. In Episoden greift der Film das Leben einiger Passagiere auf, die in der Halle warten müssen. Unter den Fluggästen: eine polnische Jazz-Band, ein afrikanischer Farmer, ein Model und ihr verheirateter Freund, ein britisches Ehepaar. Am Rande spielen die Schicksale des Flugpersonals mit hinein. Für einige Passagiere verändert sich in der langen Nacht unerwartet ihr Leben, andere machen im alten Trott weiter. 　　Der zweite Spielfilm des Journalisten Will Tremper (1928 – 1998; “Playgirl”). Tremper drehte mit Minimalbudget sechs Wochen in Tempelhof und wurde vom Personal begeistert unterstützt. Die Premiere fand in der Haupthalle des Flughafens statt. Die frühe, vor “Hotel International” entstandene “Airport”-Version gilt wegen des frischen Regiestils und der natürliche agierenden Darsteller als Vorläufer des Neuen Deutschen Films und machte Harald Leipnitz (als Geschäftsmann Spitz) über Nacht bekannt. Mit Hannelore Elsner als Starlet Sylvia.

雷罕妮是个小学生。一天，这个小姑娘梦见自己的老师遇车祸受伤。第二天，那位老师真的迟迟没有到校。校方报了警。警方根椐雷罕妮后来在梦里见到的情形展开调查，终于找到了那位失踪的迈哈迪老师。但迈哈迪老师并没有遭遇车祸，而是经历了另一番出人意料的惊险和感动。