As armed conflict flares up at the edges of Europe, the commemoration of the Second World War is used to prepare people for renewed conflict. In Azerbaijan, the recent expulsion of Armenians from Nagorno-Karabakh is presented as a national success. And in Russia, with much flag-waving, bombastic language and tank parades, the invasion of Ukraine is equated with the victory over fascism in 1945. 　　Meanwhile, the Polish army displays its latest acquisitions, and the residents of Kyiv—between air-raid sirens—view the destroyed tanks that their own army has captured from the Russians. It’s only in Berlin that the public pays little attention to the Soviet memorial in Tiergarten Park, close to the once-defeated Reichstag, and dances as if there’s no tomorrow at an open-air techno party. 　　Filmmaker Vitaly Mansky was born in Ukraine, made critical documentaries in Russia in the 1990s and lives in Latvia due to his political stance since 2014. By showing how war commemorations vary across Europe, without commentary, he exposes a fundamental and potentially dangerous difference in mentality.

As armed conflict flares up at the edges of Europe, the commemoration of the Second World War is used to prepare people for renewed conflict. In Azerbaijan, the recent expulsion of Armenians from Nagorno-Karabakh is presented as a national success. And in Russia, with much flag-waving, bombastic language and tank parades, the invasion of Ukraine is equated with the victory over fascism in 1945. 　　Meanwhile, the Polish army displays its latest acquisitions, and the residents of Kyiv—between air-raid sirens—view the destroyed tanks that their own army has captured from the Russians. It’s only in Berlin that the public pays little attention to the Soviet memorial in Tiergarten Park, close to the once-defeated Reichstag, and dances as if there’s no tomorrow at an open-air techno party. 　　Filmmaker Vitaly Mansky was born in Ukraine, made critical documentaries in Russia in the 1990s and lives in Latvia due to his political stance since 2014. By showing how war commemorations vary across Europe, without commentary, he exposes a fundamental and potentially dangerous difference in mentality.

作为一个物种，我们总认为自己很聪明，是理性动物，能做出理智的决定。但或许我们该重新思考一下。每当我们做决定时，我们的直觉和逻辑就会展开一场斗争，而直觉的力量常常超乎我们想象。这种冲突影响我们生活的方方面面，比如饮食、习惯、信仰等。我们对人类心智的理解将发生变革，丹尼尔•卡恩曼教授将对这场变革进行阐述。

抵抗的风景追溯了 97 岁的反法西斯战士索尼娅的记忆之旅，她是南斯拉夫最早的女游击队员之一，也是奥斯维辛抵抗运动的领导人之一。正如索尼娅所说，我们穿越了她现在存在的革命青年的风景——塞尔维亚的森林和山脉以及奥斯威辛的泥泞地带——以及她与丈夫和猫住在一起的贝尔格莱德小家。由于索尼娅是一个伟大的讲故事的人，能够在没有后见之明的情况下讲述过去的事件，她将我们直接带入了引发反法西斯抵抗的独特氛围和心态。我们看到她的故事穿越时间流向新一代的身体，证明思考和练习抵抗总是可能的。

讲述伪装老人是孤独死的破旧小区，听到犯人告解圣事的老神父，和中年女刑警合作而展开的追踪惊悚故事。

《尽头的风景》是亚历山德罗·努纳德里（Alessandro Lunardelli）的导演处女作，由意大利和智利联合拍摄，在意大利、西班牙和智利三国取景，是一部讲述兄弟亲情、身份认同和成长冒险的公路电影。主人公戴维和哥哥诺里斯一直生活在意大利北部小城，兄弟俩很早就接手了家族产业。戴维18岁，是一个没有公开出柜的同志；诺里斯30岁不到，只热爱足球，对弟弟的性取向一无所知。为观看所支持球队的比赛，诺里斯带戴维前往巴塞罗那，结果在那里戴维遇见了智利来的环保狂热分子安迪。两个年轻人一见钟情，当安迪向戴维提出一起回南美生活后，戴维没有经过多少心理挣扎就和安迪来到了圣地亚哥。一个全新的世界在戴维面前展开，可很多事并不像他想象的那样轻松。与此同时诺里斯也踏上了前往圣地亚哥的旅途，希望能够带弟弟回家...◎QAF

“Hostile Landscapes” is a two-channel film, which revolves around the remarkable true story of Jhu Hyeun-ken (朱贤健/주현건), a North Korean defector imprisoned in the Jilin Prison in Northeast China for illegal border-crossing since 2013. Jhu managed to escape from the prison on October 18th, 2021, with bare hands. After eluding local police and authorities for 40 days, Jhu was ultimately shot in the leg and apprehended near the Fengman Dam and Reservoir, a historically significant location with deep Japanese colonial ties.

这是一部关于生命四季和自然四季双重变奏的影片，交织出西北黄土高原上一座小城铜川的地理空间和时间维度。

本片为中国美术学院传媒动画学院10级学生毕业作品。

http://zhaoliangstudio.com/work/narrative-landscape?lang=zh-CN