1952 年，英国牛津大学英语系教授、作家杰克·刘易斯收到美国女诗人乔伊· 格雷沙姆的来信。她目前正在英国逗留，想和刘易斯见一次面。他为她准备了茶点，两人谈得很投机。不久，她和小儿子道格拉斯也成了刘易斯忠实的小书迷。乔伊婚姻不幸，与丈夫分居多年后离异，她打算和儿子长期生活在伦敦。杰克为了方便乔伊，同意和她举结婚，这样她就可以得到英国的公民证，长期留在英国。在牛津大学校园举行的宴会上，乔伊被杰克超然物外和不问外事的态度所激怒，她愤而离去。乔伊病倒了，经医生诊断她得的是晚期骨癌。这时杰克才恍然醒悟：他已经深深爱上了乔伊。他向乔伊第二次求婚，这次他们在医院由教区牧师主持结了婚。不久，乔伊病重，从此，她再也没离开过病榻。就在杰克和道格拉斯身边，她与世长辞了。在她临终前，杰克向她保证要照顾好她的儿子道格拉斯。在为乔伊举行过葬礼之后，杰克又恢复了他熟悉的大学日常工作。

本片系改编自二十世纪最具影响力的护教学家路易斯的迟婚故事。 依言情的角度看，这是一部拍摄得堪称精致动人的小品电影。安东尼霍普金斯的眼神演活了一个年逾半百的智慧大师人味十足的情感起伏：从对域外永恒世界的笃定神往到邂逅爱情的惶惶惊喜，从经历死别的愤怒、怆痛，到归回日常循环的悠悠释然——欲望的踊动和生死的参悟，正是这部电影凝链剧力的重心，它原可跨越文化和信仰的差异，触动人人的心弦。 刘基斯乃大学教授，也是著名的儿童故事作家兼诗人。表面上，这位权威学者已洞悉爱情与人生，然而实际上，含蓄的他只是感情的旁观者，与每个人都保持距离。一天，他遇上敢爱敢恨的女诗人，使他的感情生活有了生气，可惜... 以下是影片中Lewis 与女诗人Joy的一段对话。 有一幕中，Lewis的妻子乔伊Joy已经知道自己将死于癌症： Joy： 我们还有很多路要走。 Lewis： 我将一点一滴地缩小成一位丈夫。 Joy： 而我将越来越胖，就像一位妻子。 我听得出你的脚步声，在你离家还很远时，我就知道是你回来了。 我知道走在路上的正是你。 Lewis： 我不曾想过自己会如此快乐，而且是一大把年纪之后。 每一天，我回到家，就看到你。 Joy： 从你回家说的第一句话，我就知道你的心情如何， 光听你的声音就知道了。 即时你不说话，从你脸上的线条，我还是看得出来。 我看着你坐在书桌前工作，研究你，了解你。 Lewis： 每一天，我回到家，就看到你。 我还不习惯这种情形，每一天都令我惊喜，你在家里！ 这种纯然的快乐令我目瞪口呆，我回来就能看到你， 我拥抱你、亲吻你， 我需要做的只是回来，你就在家里。 你使整个世界都变美了，令我如此感激， 为所有普通的居家快乐而感激。 ----------------------------------------------------------- 一次，Joy在愉快的气氛中跟Lewis谈论死亡，Lewis不愿意谈，Joy就跟他说： “现在的快乐中，一定蕴含未来的痛苦，这就是生命的运作。” ----------------------------------------------------------- 电影最后的独白是： 如果失去是会伤的那么深，那为何还要爱？ 在我所经历过的生命里我找不到答案。 在这一世我被给予过两个选择，一个是做一个男孩，一个是做一个男人。 男孩选择的是安全，男人选择的是承受。 现在的痛苦其实是幸福的一部分，这就是命运。 Why love, if losing hurts so much? I have no answers any more, only the life I've lived. Twice in that life I've been given the choice, as a boy, and as a man. The boy chose safety. The man chooses suffering. The pain, now, is part of the happiness,then.That's the deal

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。

《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.

台北，小守是个腼腆的男孩，他是一名从事皮影戏表演的巡回艺人。一天，他邂逅了光彩照人的安，瞬间坠入爱河。然而，一场可怕的意外即将降临，将这个年轻男孩拖入黑暗世界，好在最后他还是成功表白了自己的心意。