In Takva  A Mans Fear of God, director Ozer Kiziltan has tackled one of lifes most difficult questions and, in so doing, has created an extraordinary piece of cinema: if we base our lives on a belief in God, and then experience a crisis of faith, are we losing God or is God abandoning us because of our questioning? Muharrem (Erkan Can) is a forty-five-year-old single man, living in one of the oldest residential districts in Istanbul, in the very house in which he was born. He works every day as the assistant to a sack trader, the same job he has held since he was eleven years old. The conservative and traditional behaviour of his late parents and of his community have led Muharrem to be an introvert, so his exceptionally simple life centres on his total devotion to the services and exercises of a religious sect. The core of Muharrems life is his bedrock belief in  and fear of  God. Takva provides extraordinary riches to the viewer. Initially it offers a rarely-seen glimpse into the world of conservative Turkish Muslims, which has a beauty and hypnotic power entirely its own. Then we are drawn into Muharrems small universe with its very large questions. Cinematically stunning and skilfully made, the film tackles those important struggles that all too often go unexplored in a complex modern world.

In Takva  A Mans Fear of God, director Ozer Kiziltan has tackled one of lifes most difficult questions and, in so doing, has created an extraordinary piece of cinema: if we base our lives on a belief in God, and then experience a crisis of faith, are we losing God or is God abandoning us because of our questioning? Muharrem (Erkan Can) is a forty-five-year-old single man, living in one of the oldest residential districts in Istanbul, in the very house in which he was born. He works every day as the assistant to a sack trader, the same job he has held since he was eleven years old. The conservative and traditional behaviour of his late parents and of his community have led Muharrem to be an introvert, so his exceptionally simple life centres on his total devotion to the services and exercises of a religious sect. The core of Muharrems life is his bedrock belief in  and fear of  God. Takva provides extraordinary riches to the viewer. Initially it offers a rarely-seen glimpse into the world of conservative Turkish Muslims, which has a beauty and hypnotic power entirely its own. Then we are drawn into Muharrems small universe with its very large questions. Cinematically stunning and skilfully made, the film tackles those important struggles that all too often go unexplored in a complex modern world.

夏末的最后一个周末，六个好朋友在森林深处租了一间小屋，准备出去享受一场充满派对和美酒的美好时光。然而，他们没想到，小屋里竟然住着一位不速之客，他们能活着离开吗？

夏末的最后一个周末，六个好朋友在森林深处租了一间小屋，准备出去享受一场充满派对和美酒的美好时光。然而，他们没想到，小屋里竟然住着一位不速之客，他们能活着离开吗？

通过两位女性1960年代到1970年代的生活，Varda构筑了一部女性主义的历史。故事描述了两位迥异的妇女15年的关系。她们都体会到了西蒙娜·波伏娃的那句名言：“女人并非生来就是女人，她们是后来变成女人的。” 　　Pauline城市中的中产阶级女孩。与其家庭的传统保守大相径庭，她17岁时离家立志要做个歌手。Suzanne年纪稍大些，是个农村姑娘，她的情人自杀了。她独自带着两个私生子，第三个也快要出生了。尽管两个女性没有多少共同之处，她们却仍然相处融洽。 　　后来她们被迫分开了。Suzanne去了法国南部，建立了一个家庭计划中心。Pauline则组织了一个女性的吟游乐队，以她们的歌曲促使人们觉醒。多年以后，Pauline和Suzanne在一个争取堕胎权利的集会上又相遇了。她们重新回到从前。

通过两位女性1960年代到1970年代的生活，Varda构筑了一部女性主义的历史。故事描述了两位迥异的妇女15年的关系。她们都体会到了西蒙娜·波伏娃的那句名言：“女人并非生来就是女人，她们是后来变成女人的。” 　　Pauline城市中的中产阶级女孩。与其家庭的传统保守大相径庭，她17岁时离家立志要做个歌手。Suzanne年纪稍大些，是个农村姑娘，她的情人自杀了。她独自带着两个私生子，第三个也快要出生了。尽管两个女性没有多少共同之处，她们却仍然相处融洽。 　　后来她们被迫分开了。Suzanne去了法国南部，建立了一个家庭计划中心。Pauline则组织了一个女性的吟游乐队，以她们的歌曲促使人们觉醒。多年以后，Pauline和Suzanne在一个争取堕胎权利的集会上又相遇了。她们重新回到从前。

影片的标题借用了豪尔赫·路易斯·博尔赫斯的诗集，并与他对艺术和同一性的思考产生共鸣。影片使用了蒙太奇式的凝视和被凝视的“人”的档案影像，同时，利用人工智能根据偶然的提示和标签对这些影像进行译释。 　　导演介绍：刘博濠，导演，编剧。先后于伦敦电影学院和纽约大学学习编剧和纪录片。毕业作品《鹰栖凉山》获得奥斯卡、美国导演工会、艾美三项学生奖，提名国际纪录片协会奖。驻留法国国立当代艺术影像研究中心。

影片的标题借用了豪尔赫·路易斯·博尔赫斯的诗集，并与他对艺术和同一性的思考产生共鸣。影片使用了蒙太奇式的凝视和被凝视的“人”的档案影像，同时，利用人工智能根据偶然的提示和标签对这些影像进行译释。 　　导演介绍：刘博濠，导演，编剧。先后于伦敦电影学院和纽约大学学习编剧和纪录片。毕业作品《鹰栖凉山》获得奥斯卡、美国导演工会、艾美三项学生奖，提名国际纪录片协会奖。驻留法国国立当代艺术影像研究中心。

电影取材于“精准扶贫”这一政策背景，以返乡青年张帆的视角讲述了主人公李向东带领的扶贫帮扶工作队帮助贫困村解决矛盾纠纷，带领全体村民走上致富道路的故事。影片重点描绘了梨花村在扶贫工作下的新变化、新面貌，塑造了共产党人恪尽职守的伟岸形象，唱响了一曲对扶贫政策的赞歌。

电影取材于“精准扶贫”这一政策背景，以返乡青年张帆的视角讲述了主人公李向东带领的扶贫帮扶工作队帮助贫困村解决矛盾纠纷，带领全体村民走上致富道路的故事。影片重点描绘了梨花村在扶贫工作下的新变化、新面貌，塑造了共产党人恪尽职守的伟岸形象，唱响了一曲对扶贫政策的赞歌。