光影二物，一明一暗，非黑即白，同时存在，互为佐证。有光处皆有影，有影处必有光——这样的逻辑，倒像是来自于时间与空间两种维度的倾谈，呈示出一个彼此依托的互生关系：脱离了空间的时间只是一个无效参数，失却时间的空间是物象存在形式的迷失。 光，是时间的脚印。影，是空间的镜子。这世界，便是光与影的交响。在艺术家段天然这部名为《影子之间》（《In between shadows》）的动画作品当中，几个富有意味的超现实片段在看似偶然和无序的状态里被联缀成文，裹挟了潜意识的虚妄与神秘莫测，参与到一场勇于涉险的视觉游戏之中。在这5分23秒里，没有演员出演，只有平移的目光。近于现实的建筑如同异域，被这目光褪去外壳，导引出世界内部难以描摹的发现。

This portrait of a Chinese family centers on the paterfamilias, who at the age of 85 still works his land by hand every day, his wife, who feeds and slaughters the chickens, and one of their sons, who lives in an apartment in the city and spends his days keeping company with his television and a steady flow of alcohol. Crisp black-and-white images capture faces, activities, rituals and gatherings of the entire family, including grandchildren, around the dining table in the family home. The largely static camerawork invites you to observe their roles and relationships. Out in the field, the old man replies to the chirping of the birds, but in the house his taciturn nature is dominant. It is here that the son’s isolation becomes painfully tangible. In documenting his own family, filmmaker Ronin Hsu exposes recognizable and universal family themes. Including the indisputable fact that every father is also a son. 源自：https://www.idfa.nl/en/film/81c374af-7a56-489f-a4e6-a67791f77701/between-father-and-son

本片是根据刘溢川的短篇小说《小小红门》改变拍摄的。描写父子相依为命，过着清贫而又快乐的日子。强强的爸爸是个鞋厂的老板，做生意失败后，债主天天来要债，妈妈受不了这种压力和爸爸离婚了，抛下七岁的强强。强强一时不能适应没有妈妈的生活，父子之间常常发生争执。爸爸精神颓废，不思振作，常丢下强强去酒吧找老朋友，但这些酒肉朋友都在坑他。他感到人情的淡漠。为了应付债务，爸爸把车子抵押了，还卖掉了房产，带着强强租房住下，准备重新振作起来。强强常常站在码头上等爸爸回来，而爸爸一直找不到工作。一次深夜爸爸喝到酩酊大醉，强强冒着滂沱大雨扶他回家，但第二天强强发了高烧。爸爸终于不顾面子，找到一位低微的工作，在货柜公司当警卫。没想到在这里他遇到了强强的妈妈。圣诞节到了，这天正是强强妈妈的生日。以往这一天是全家热闹快乐的日子，而今她已走了，强强选了几张贺卡送给她。爸爸在卡片上写了一段祝福的话。

金（金·迪莱克特 Kim Director 饰）、杰弗里（杰弗里·多诺万 Jeffrey Donovan 饰）、艾瑞卡（艾丽卡·李尔森 Erica Leerhsen 饰）等五个不知死活的年轻人再度走进了黑暗而又神秘的黑山丛林，入夜，一行人驻扎在拉斯廷的房子旁，而这个拉斯廷，正是大名鼎鼎的曾经受到布莱尔女巫蛊惑而杀害了七个孩子的残酷凶手。 白昼来临，奇怪的是，年轻人们不约而同的失去了昨晚的记忆，没有人知道前一夜究竟发生了什么，也不知道他们所闻所见究竟是梦境还是现实。离开了黑山丛林，他们聚集到了杰弗里家，在那里，每个人都试图弄清楚事件的真相。渐渐的，诡异的事情开始发生，诸多的证据表明，五个人虽然活着离开了黑山丛林，却依旧处于女巫的掌控之下。

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

《影子》是埃德加·赖特首次执导的动画片，该片计划于2019年上映！

Synopsis At a crowded airport, Ahlam, a 14-year-old mother, is running away from Baghdad, the only place she’s ever known. As she fights the shadows lurking around her, she reflects on her journey to reclaim her life. Director’s statement I have a recurring nightmare of running from a faceless man. When I plead for help, people ignore me. This reflects the normalisation of violence against women. Recently, a Jordanian woman named Ahlam was murdered by her father. Her name means “dreams,” like the protagonist of Shadows. Our Ahlam is a survivor. I met her while filming a documentary with teenage immigrant girls in Germany. She had run away from her family and wanted to share her story. Exposing Ahlam’s story posed ethical dilemmas, but her strength compelled me. Animation allowed us to recount her past and visualise her subjective point of view. Domestic violence and child marriage are rarely discussed unless tragedies occur. I want Shadows to expose injustices and pay tribute to Ahlam’s courage, highlighting her refusal to let her circumstances define her life’s journey.

影片讲述了一个人在车祸中起死回生，却又一直被死亡所困扰的故事。