音乐纪录片《The fin. : there, here, everywhere》由吉术斋&HIP LAND MUSIC共同出品，吉术斋制作，张晶蕾导演。 作为当今亚洲乃至世界备受瞩目的年轻乐队之一，来自日本的The fin.凭借英伦复古的曲风和清新迷幻的浪漫气质脱颖而出，迅速成长为极具影响力的高人气独立乐队。究竟The fin.的音乐拥有何种魅力能够受到乐迷追捧？舞台上呈现精彩演出的他们，舞台背后又在经历怎样的人生？ 吉术斋团队跨越中日英三国，独家记录下了The fin.的音乐故事，并制作了纪录片《The fin. : there, here, everywhere》，这也将是The fin.乐队成立以来的首部音乐纪录片。

伊万觉得自己受到了日益严重的反犹太主义的迫害，他已经习惯了别人说他夸大其词、疑神疑鬼。在与心理医生的交谈中，伊万谈到了他所关心的问题：他的身份，今天作为法国人和犹太人的身份。然而，这些会面同时也是一条红线，将几个短篇小说串联在一起，试图以悲喜剧的方式揭开最顽固的反犹主义陈词滥调！

Kamal, a young billionaire, doesn't believe in love; his philosophy is simple: No love, no commitments = no disappointments. He works hard for 11 months and takes a month's break from all the work related commitments. Cute violinist Kayalvizhi alias Kayal believes in true love and is highly fascinated with Indian culture. Kayal's father Rajasekhar runs a small detective agency in France and Kayal often reads her father's case files for interesting stories. One day, Rajasekhar gets a new client who wants to know about his girlfriend's mystery man. After a brief investigation, Rajasekhar finds that his client's girlfriend is dating Kamal. Sonu gets angry and decides to kill his girlfriend and Kamal.

Identical twin sisters Emilija and Ona have lived in a rent-controlled warehouse loft in Williamsburg, Brooklyn for as long as they can remember. After the sudden death of their mother – a Lithuanian artist and dancer who first called the loft home in the 1970s – they find themselves on the brink of eviction. The neighbourhood has transformed; the landlord wants them out. Adding to the turmoil, Ona discovers she is pregnant. A Woman’s Place Is Everywhere tells an intimate story of grief, memory, sisterhood and motherhood, set against the backdrop of an ever-evolving New York City.

《舞池无处不在》是编舞师杰森·格斯特和变装艺术家/制作人法特·布彻的最新合作。 通过庆祝伯明翰LGBTQ+夜生活社区的创造力、复原力和大胆精神，这个新作品是一次对我们城市的邀请，何时何地，你都能创造自己的舞池！

其实，作为左派的戈达尔，早在1968年从传统电影体制撤出来后，就以同情心关注着巴勒斯坦问题。他的吉加.维尔托夫小组在1970年于约旦实地拍摄关于巴勒斯坦解放运动的《直至胜利》，后来因为客观历史事件而被迫放弃。而这部未能露面的电影也成为吉加.维尔托夫小组电影试验的高峰。接下来的1974年，他与玛丽.密耶维尔在他们位于格勒诺勃城的声影制作室（Sonimage）完成了《此处和彼处》。 援引戈林.麦凯波在《戈达尔：影像、声音与政治》一书中所述：这部影片包含了《直至胜利》一片的部分片段，以及有关当代法国社会的影像。戈达尔将两者排列组合在一起，是想捕捉巴勒斯坦革命（彼处）和法国消费社会（此处）两者之间的差距。连接此处“和”彼处的这个连接助词“和”才是本片探索的焦点所在：我们在这里的生活、存在（法国）与那里的斗争（巴勒斯坦）两者之间存在着什么样的关系呢？一个电影工作者又如何创造出能够衔接二者的声音和影像呢？

An alluringly low-key and enigmatic portrayal of the alienation, disillusionment and loss of direction that have become widespread among young people in contemporary China. Filmed in elegant and absorbing long takes, the film interweaves the lives of several rootless people who become linked with one another by chance, by their sexual obsessions, and by the loss of a mobile phone…

刚迈入大学校园的新生，原本坚守的所有原则，都因一位学姐的出现而被逐一打破。实际上，他们之间看似偶然的巧合，皆是学姐有意为之。在一次学生会组织的真心话大冒险游戏中，学妹却不愿公开两人的恋爱关系，也从未亲口说出“爱她”，但爱意在她的一举一动中展现得淋漓尽致。