The life story of His Holiness Karmapa XVI is told by those close to him in Tibet, the generation of teachers that he trained, and many others that he touched. The story of this modern day buddha looks closely at enlightened qualities. It frames them amid historical events and the cultural context of Buddhism's migration to the West. We lost this larger than life figure at the age of 57 from cancer. Karmapa himself was the teaching lesson. How he lived and how he died gives us the example of an awakened being, a person with a noble heart.

The life story of His Holiness Karmapa XVI is told by those close to him in Tibet, the generation of teachers that he trained, and many others that he touched. The story of this modern day buddha looks closely at enlightened qualities. It frames them amid historical events and the cultural context of Buddhism's migration to the West. We lost this larger than life figure at the age of 57 from cancer. Karmapa himself was the teaching lesson. How he lived and how he died gives us the example of an awakened being, a person with a noble heart.

This film is in the form of a personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between author (various surface treatments and combinations) and fixed images on film as the memories.

This film is in the form of a personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between author (various surface treatments and combinations) and fixed images on film as the memories.

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

他爱她，她回避了；她希望他爱她，他轻轻的一低头——于是彼此微微的一错身。 　　 　　港町的天空光影交织，景致里残留着古典风韵的底子。雷每天拉着车子在道旁搜集铁屑，大家戏谑的称呼他为“佛”，因为他似乎是个不会悲伤和愤怒的人，即使受到街头飞仔的欺负，雷的面容也会一如既往的浮现出微笑的神情。他的兄长正好与之相反，柴风度豪迈，体格壮健，在港町的年轻一代中颇有一呼百应的气势，和镇上的小小帮派也常有来往。他们是一对微妙的兄弟。由玛是海边船员会馆的按摩师，她在童年遭遇不幸而失去视力，如今却要负担一家的生活。小时侯，由玛总是受到孩子们的歧视，在她的黑暗里，由玛哭泣着记住了柴安慰过她的话：“等由玛长大了，一定要嫁给我”。于是现在的她仍然在幻想，幻想某一天被柴领上街道，走入人群，幸福的行进。 　　 　　雷收集了许多年的铁屑，他用这些来建造一个佛像。雷似乎在默默的努力里注入了自己的灵魂，为了纪念他的生母，许多年前因为对丈夫的深深失望而走向大海，未曾归来的母亲。“你没有欺凌过弱者，可是你也没有得到过爱。”他对自己和佛像说。对人来说，这是无用的铁屑，可是当它树立起来，它便可以破坏这个已经满是污秽的世界，扫除那些无聊的人类，这就是雷的心目中铁佛的意义。 　　 　　雷悄悄的迷恋着盲女由玛，不离去也不走近。由玛以柴为爱的理想，她太渴望强者的保护。而柴则在不二子和由玛的双重世界里来来去去，激起了雷的深深不平。三个人的世界各自转动着，且看最终是谁的无奈收场，是谁的理想慢慢破灭……

他爱她，她回避了；她希望他爱她，他轻轻的一低头——于是彼此微微的一错身。 　　 　　港町的天空光影交织，景致里残留着古典风韵的底子。雷每天拉着车子在道旁搜集铁屑，大家戏谑的称呼他为“佛”，因为他似乎是个不会悲伤和愤怒的人，即使受到街头飞仔的欺负，雷的面容也会一如既往的浮现出微笑的神情。他的兄长正好与之相反，柴风度豪迈，体格壮健，在港町的年轻一代中颇有一呼百应的气势，和镇上的小小帮派也常有来往。他们是一对微妙的兄弟。由玛是海边船员会馆的按摩师，她在童年遭遇不幸而失去视力，如今却要负担一家的生活。小时侯，由玛总是受到孩子们的歧视，在她的黑暗里，由玛哭泣着记住了柴安慰过她的话：“等由玛长大了，一定要嫁给我”。于是现在的她仍然在幻想，幻想某一天被柴领上街道，走入人群，幸福的行进。 　　 　　雷收集了许多年的铁屑，他用这些来建造一个佛像。雷似乎在默默的努力里注入了自己的灵魂，为了纪念他的生母，许多年前因为对丈夫的深深失望而走向大海，未曾归来的母亲。“你没有欺凌过弱者，可是你也没有得到过爱。”他对自己和佛像说。对人来说，这是无用的铁屑，可是当它树立起来，它便可以破坏这个已经满是污秽的世界，扫除那些无聊的人类，这就是雷的心目中铁佛的意义。 　　 　　雷悄悄的迷恋着盲女由玛，不离去也不走近。由玛以柴为爱的理想，她太渴望强者的保护。而柴则在不二子和由玛的双重世界里来来去去，激起了雷的深深不平。三个人的世界各自转动着，且看最终是谁的无奈收场，是谁的理想慢慢破灭……

法师和小徒弟在荒漠里打开“结界”降妖，不料妖怪现出原形，却是一位宇航员。宇航员杀死了法师，还偷走了他的金币。小徒弟要为师父报仇，却被宇航员告知：他师父并没有死。宇航员还交给小徒弟一只盒子，叮嘱他真相就在盒子里。 　　小徒弟一觉醒来，发现法师果然没有死，惊喜之余把自己“梦”到的事情经过告诉了法师，不料法师听完大发雷霆。之后事情的发展，一再超乎想象......本片为腾讯看点与科幻世界联合举行的第30届银河奖科幻微电影征集作品