清朝光绪年间，走私食盐集团首脑徐老虎(刘永)与白寡妇(恬妮)，因清官李振彪（白彪）拒不受贿，同时两江总督又责令严缉私盐，徐老虎和白寡妇二人都面临被捕危险。白寡妇为免同僚落网，遂私自前往官府与李振彪协议自己投案，李振彪念及曾与徐老虎及白寡妇亡夫结义，遂允白寡妇之要求。白寡妇被判处绞刑，李振彪为了避免总督介入此案，进而节外生枝，遂派人送毒药给白寡妇。徐老虎惊悉白寡妇独力承担罪责更被判处死刑，复仇行动随即展开……

The Deadly Companions is a 1961 Western film directed by Sam Peckinpah and starring Maureen O'Hara, Brian Keith, Steve Cochran, and Chill Wills. Based on the novel of the same name by A. S. Fleischman, the film is about an ex-army officer who accidentally kills a woman's son, and tries to make up for it by escorting the funeral procession through dangerous Indian territory. The Deadly Companions was Sam Peckinpah's motion picture directorial debut.

“Chinese artist”: put those two words together and you get a virtual 　　“open sesame” for biennales, art galleries and private collections. 　　Though they were known only to a happy few early on, word of the 　　discovery of the Chinese avant-gardes from the 80s soon spread. 　　Being an artist in China today can be very lucrative indeed… as long 　　as you hopped on the bandwagon at the right time. For trends change 　　in the blink of an eye. This film gets inside an art system as well as 　　penetrating Chinese creators’ dual identities: both predatory and 　　exotic. Both “tiger” and “panda”. 　　Spanning China’s eras and profound mutations over the last two 　　decades, artists and critics, curators and gallery owners talk about the 　　different currents that left an impression: the “political-pop” paintings 　　of the 80s that thumbed their noses at the recent political past, the 　　outrageous caricatures of Chinese society produced by adepts of 　　“cynical realism,” performance art bordering on terrorism, then the 　　multicultural 00s, steeped in manga culture, video art, internet, and 　　more. 　　From Suzhou Creek in Shanghai and Factory 798 in Beijing, the two 　　main showcases for contemporary Chinese art, the film plunges into 　　the buried memories of the earliest hippie-artist villages in the 90s, up 　　to the first wave of demolition… 　　The choice of a Franco-Chinese co-direction has quickly become selfevident. 　　A dual gaze made all the more valuable if we wish to bring 　　into clear focus the confrontation of two imaginary worlds: the West 　　that the Chinese long for and the East that we Westerners fantasize. 　　In so doing, the film hopes to scramble our western gaze, which 　　seems to be stuck on a China we believe to be gung-ho and 　　productive, in a state of fecund, inspired flux… yet which can not live 　　up to this idealized portrait. More than ever, artists are questioning 　　their deepest identity and what they are to become. What is the price 　　to pay to preserve art’s independence? What does it mean to be an 　　artist in today’s China? Or to be Chinese when you decide to be an 　　artist?

“Chinese artist”: put those two words together and you get a virtual 　　“open sesame” for biennales, art galleries and private collections. 　　Though they were known only to a happy few early on, word of the 　　discovery of the Chinese avant-gardes from the 80s soon spread. 　　Being an artist in China today can be very lucrative indeed… as long 　　as you hopped on the bandwagon at the right time. For trends change 　　in the blink of an eye. This film gets inside an art system as well as 　　penetrating Chinese creators’ dual identities: both predatory and 　　exotic. Both “tiger” and “panda”. 　　Spanning China’s eras and profound mutations over the last two 　　decades, artists and critics, curators and gallery owners talk about the 　　different currents that left an impression: the “political-pop” paintings 　　of the 80s that thumbed their noses at the recent political past, the 　　outrageous caricatures of Chinese society produced by adepts of 　　“cynical realism,” performance art bordering on terrorism, then the 　　multicultural 00s, steeped in manga culture, video art, internet, and 　　more. 　　From Suzhou Creek in Shanghai and Factory 798 in Beijing, the two 　　main showcases for contemporary Chinese art, the film plunges into 　　the buried memories of the earliest hippie-artist villages in the 90s, up 　　to the first wave of demolition… 　　The choice of a Franco-Chinese co-direction has quickly become selfevident. 　　A dual gaze made all the more valuable if we wish to bring 　　into clear focus the confrontation of two imaginary worlds: the West 　　that the Chinese long for and the East that we Westerners fantasize. 　　In so doing, the film hopes to scramble our western gaze, which 　　seems to be stuck on a China we believe to be gung-ho and 　　productive, in a state of fecund, inspired flux… yet which can not live 　　up to this idealized portrait. More than ever, artists are questioning 　　their deepest identity and what they are to become. What is the price 　　to pay to preserve art’s independence? What does it mean to be an 　　artist in today’s China? Or to be Chinese when you decide to be an 　　artist?

故事讲述一个寡妇(贝金赛尔饰)在新闻中突然看到已故丈夫依然健在，这一切背后究竟隐藏着什么？

凯特·贝金赛尔将出演8集惊悚剧《寡妇》(The Widow，暂译)。亚马逊、ITV联合出品，哈里·威廉姆斯、杰克·威廉姆斯(《伦敦生活》)担任编剧及执行制片。故事讲述一个寡妇(贝金赛尔饰)在新闻中突然看到已故丈夫依然健在，这一切背后究竟隐藏着什么？该剧将于本月在南非、威尔士、鹿特丹取景拍摄。

居住在小岛上的制盐师，已经上了岁数，但从清晨的劈柴生火开始，传统手工制盐的每一个步骤他都一丝不苟地亲力亲为。他如此工作了几十年，只是，这天是他还要参加自己妻子的葬礼。他告诉孙女，盐是会说话的。 　　本片导演西山裕之的前作短片《20分贝》曾入围2020年上海国际电影节金爵奖短片单元。为影片掌镜的是日本知名摄影师百百新，从图片摄影跨界到电影摄影，百百新曾经与河濑直美导演合作过《光》《视觉》等令人惊艳的作品。这部以匠人精神和记忆为主题的影片，同时也讨论了人与自然的相处之道。

居住在小岛上的制盐师，已经上了岁数，但从清晨的劈柴生火开始，传统手工制盐的每一个步骤他都一丝不苟地亲力亲为。他如此工作了几十年，只是，这天是他还要参加自己妻子的葬礼。他告诉孙女，盐是会说话的。 　　本片导演西山裕之的前作短片《20分贝》曾入围2020年上海国际电影节金爵奖短片单元。为影片掌镜的是日本知名摄影师百百新，从图片摄影跨界到电影摄影，百百新曾经与河濑直美导演合作过《光》《视觉》等令人惊艳的作品。这部以匠人精神和记忆为主题的影片，同时也讨论了人与自然的相处之道。

源自William Blake的诗The Tyger，是一部很前卫的实验动画。片中融合各种元素，木偶，板画效果和现代的数字技术。影片在制作过程中最大的挑战来自于图象，如何使最后的图象中各种元素看起来一致。少有的视觉效果，值得欣赏。 　　As the lights of a carnival midway dim, a huge tiger emerges from the dark. As it walks through the city, illuminated plants flourish in its path. It approaches a large apartment building: a napping man's TV goes off, he wakes and walks to the window, sees the tiger and is transformed into a monkey. Similar transformations occur as the tiger walks through the city: cars become snails, football fans become insects, hipsters outside a club become toucans. The tiger reaches a hilltop outside the city. Behind him in the city, plants glow and the air is full of flying creatures.

源自William Blake的诗The Tyger，是一部很前卫的实验动画。片中融合各种元素，木偶，板画效果和现代的数字技术。影片在制作过程中最大的挑战来自于图象，如何使最后的图象中各种元素看起来一致。少有的视觉效果，值得欣赏。 　　As the lights of a carnival midway dim, a huge tiger emerges from the dark. As it walks through the city, illuminated plants flourish in its path. It approaches a large apartment building: a napping man's TV goes off, he wakes and walks to the window, sees the tiger and is transformed into a monkey. Similar transformations occur as the tiger walks through the city: cars become snails, football fans become insects, hipsters outside a club become toucans. The tiger reaches a hilltop outside the city. Behind him in the city, plants glow and the air is full of flying creatures.