“Provisions for Everybody” inscribes an eccentric itinerary on and off the trail of George Orwell that accompanies a reading of ‘The Road to Wigan Pier’. Traveling between Northern England, Eastern India, Myanmar (Burma) and Catalonia, Raqs pause at Wigan Pier (in England) where Orwell queried the future, at Motihari (in Bihar, India) where he was born in the shadow of an opium godown, on the road from Mandalay where he began to understand the operations of force, in the neighborhoods of Newcastle and Durham where he investigated coal mining and miners, and in the streets of Barcelona, where he dodged bullets.

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Rachel a 40 ans, pas d'enfant. Elle aime sa vie : ses élèves du lycée, ses amis, ses ex, ses cours de guitare. En tombant amoureuse d’Ali, elle s’attache à Leila, sa fille de 4 ans. Elle la borde, la soigne, et l’aime comme la sienne. Mais aimer les enfants des autres, c’est un risque à prendre…

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

Two siblings meet a kind woman who they think would be the perfect new mother for them. But ultimately the decision is with their father, who is still in love with his last girlfriend… who did not get on well with the children. 　　The 1950s were a period of unseen creative growth in the USSR: all over the empire, even in republics that had underdeveloped film production capabilities, young talents made their visions and ambitions seen and heard. The Georgian SSR had already a rich heritage in film, so it was not astonishing that it became a vanguard of the Soviet Union’s new cinema. Its most astonishing new voice was Tengiz Abuladze whose particular sense of realism connected smoothly with similar tendencies in Italy, France or Great Britain. 　　Abuladze’s early works focused on children. Here, it’s two youngsters who feel neglected by their single father and so spend a lot of time on the streets where they meet a kind, young woman who starts to take care of them. When she meets the kids’ father they make it clear what they see in her: a potential new mother. Now, here’s the problem: the father feels still attached to a woman who couldn’t deal with the children… A stylishly shot, gentle masterpiece ripe for re-discovery!

In The Child of Another (Muna Moto), Cameroonian tradition faces the onslaught of materialism, where dowry and bloodline become the sole remnants of family values. The story centers on Mbongo, a man with four wives yet no children. When Mbongo learns of his impoverished stepson's marital intentions, he sees an opportunity to capitalize. This leading melodrama follows the young lovers Ngando and Ndomé and unfolds with a blend of tenderness and humor. The camera intimately explores the dark interiors of rural huts, meanders along the jungle's narrow paths, and partakes in lively street processions, inviting viewers into the characters' world. However, the film boldly critiques social norms, particularly the oppression of women striving for autonomy in a rigid societal framework. The storytelling reveals the narrative in reverse, as a drumbeat at a ceremony triggers a cascade of memories. The film also resonates personally for the director, who was adopted by his mother's second husband. He reflects, It is related to my childhood, existence, and life experience. I am a muna moto myself. Dikongué-Pipa's commitment to this project spanned eight years, and during filming, he resorted to fishing and hunting to sustain the unpaid crew.

许曼因为疲劳过度居然穿越了，醒来就是被逼着嫁人冲喜。她大闹婚礼现场，用着现代女性的先进思想和众人据理力争。这时病弱的新郎出现，居然是赫赫有名的企业家顾望亭，这时的他还没有事业崛起，但是也明白不能耽误女孩子来给自己冲喜，想要拒绝这桩婚事。 　　故事核心： 　　本剧围绕一对金婚夫妇（许曼和顾望亭）的离婚风波展开。在他们长达数十年的婚姻生活中，隐藏着一个久远的秘密，这个秘密的揭露引发了剧情的高潮。 　　悬疑元素： 　　剧情前半段，观众会跟随主角一起探寻许曼想要离婚的真正原因。随着故事的深入，一段年轻时的三角恋情逐渐被揭露，进而演变成了复杂的四角关系。 　　祖孙两代的爱情故事： 　　剧中不仅讲述了许曼和顾望亭这对金婚夫妇的故事，还穿插了他们孙女的爱情故事。两条爱情线索交叉进行，形成了互文的效果，使得剧情更加丰富和引人入胜。 　　转场与角色一致性： 　　剧中的转场设计巧妙，通过爷爷奶奶与青年时期的他们之间的切换，展示了角色在不同年龄段的高度一致性。这种转场不仅增加了剧情的层次感，也让观众更深刻地理解角色的性格变化和人生经历。 　　情感深度与共鸣： 　　《从前慢》通过老年人的爱情故事，引发了观众对于爱情、婚姻和家庭的深刻思考。剧中的情感纠葛和人物关系让观众产生共鸣，从而更加珍惜和感悟自己的情感生活。

许曼因为疲劳过度居然穿越了，醒来就是被逼着嫁人冲喜。她大闹婚礼现场，用着现代女性的先进思想和众人据理力争。这时病弱的新郎出现，居然是赫赫有名的企业家顾望亭，这时的他还没有事业崛起，但是也明白不能耽误女孩子来给自己冲喜，想要拒绝这桩婚事。 　　故事核心： 　　本剧围绕一对金婚夫妇（许曼和顾望亭）的离婚风波展开。在他们长达数十年的婚姻生活中，隐藏着一个久远的秘密，这个秘密的揭露引发了剧情的高潮。 　　悬疑元素： 　　剧情前半段，观众会跟随主角一起探寻许曼想要离婚的真正原因。随着故事的深入，一段年轻时的三角恋情逐渐被揭露，进而演变成了复杂的四角关系。 　　祖孙两代的爱情故事： 　　剧中不仅讲述了许曼和顾望亭这对金婚夫妇的故事，还穿插了他们孙女的爱情故事。两条爱情线索交叉进行，形成了互文的效果，使得剧情更加丰富和引人入胜。 　　转场与角色一致性： 　　剧中的转场设计巧妙，通过爷爷奶奶与青年时期的他们之间的切换，展示了角色在不同年龄段的高度一致性。这种转场不仅增加了剧情的层次感，也让观众更深刻地理解角色的性格变化和人生经历。 　　情感深度与共鸣： 　　《从前慢》通过老年人的爱情故事，引发了观众对于爱情、婚姻和家庭的深刻思考。剧中的情感纠葛和人物关系让观众产生共鸣，从而更加珍惜和感悟自己的情感生活。

善良的俄國老農夫在河邊救起一隻小藍貓，但牠竟長成一隻藍獅子。儘管牠的個性溫馴，驚恐的人們仍不斷驅趕他們。老農夫與藍獅子的新家究竟在哪裡？古樸筆觸結合木質感與民俗音樂，讓文明社會的粗暴與善良的怪獸形成強烈對比。