15 岁的 Lera Arabova 和她的家人住在符拉迪沃斯托克市。莱拉的父亲已经在“米拉”空间站工作多年。他很久之前便与女儿失去了联系，现在只是手机里的一个声音。在这座城市被彗星的碎片夷为平地之后，莱拉只有一次机会将她的亲人和整个符拉迪沃斯托克从另一场灾难中拯救出来。Lera 的父亲从空中监视她的一举一动，通过卫星系统和电话引导她完成这场艰巨的救援行动。

15 岁的 Lera Arabova 和她的家人住在符拉迪沃斯托克市。莱拉的父亲已经在“米拉”空间站工作多年。他很久之前便与女儿失去了联系，现在只是手机里的一个声音。在这座城市被彗星的碎片夷为平地之后，莱拉只有一次机会将她的亲人和整个符拉迪沃斯托克从另一场灾难中拯救出来。Lera 的父亲从空中监视她的一举一动，通过卫星系统和电话引导她完成这场艰巨的救援行动。

讲述了一个平凡女人米拉爱上了一个流浪男人里奥，两人从相知相识到同居在一起，里奥不得不忙于生计，而米拉也得像一段平凡婚姻中的女人那样，生子育儿，这便是最平凡的爱情，亦是最真实的生活

讲述了一个平凡女人米拉爱上了一个流浪男人里奥，两人从相知相识到同居在一起，里奥不得不忙于生计，而米拉也得像一段平凡婚姻中的女人那样，生子育儿，这便是最平凡的爱情，亦是最真实的生活

这是米拉·佩尔洛夫的私人纪录影像，年已九十的米拉是以色列著名纪录片导演大卫·佩尔洛夫的遗孀。通过外孙女阿尔玛的视角，影片展现了米拉患阿尔兹海默症前后与外孙女由亲密到疏远、紧张的关系，令人哀伤。 　　"Mira" is an intimate portrait of 90-year-old Mira Perlov, widow of renowned Israeli documentary filmmaker David Perlov. Through the perspective of her granddaughter, Alma, the film explores their once-close relationship strained by Mira's Alzheimer's disease, capturing the poignant deterioration of their bond.

这是米拉·佩尔洛夫的私人纪录影像，年已九十的米拉是以色列著名纪录片导演大卫·佩尔洛夫的遗孀。通过外孙女阿尔玛的视角，影片展现了米拉患阿尔兹海默症前后与外孙女由亲密到疏远、紧张的关系，令人哀伤。 　　"Mira" is an intimate portrait of 90-year-old Mira Perlov, widow of renowned Israeli documentary filmmaker David Perlov. Through the perspective of her granddaughter, Alma, the film explores their once-close relationship strained by Mira's Alzheimer's disease, capturing the poignant deterioration of their bond.

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’ 　　The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’ 　　The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

Baal, a young artist whom society regards as a genius, does not want to be monopolized by the culture and business.

An atmospheric, coming-of-age love story steeped in eerie mystery and inspired by the gothic novel of the same name.