Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

地球有释放极端灾害的能力，火山、地震、飓风和洪水都有着极大的破坏力。我们也许认为已经见过大自然母亲最无情的一面了，但随着科学家的进一步探索，我们发现过去有着更极端的灾害事件。火山的威力足以杀死数百万人，使建筑土崩瓦解。飓风在温暖的海面上积聚力量，能够跨越数百公里，成为了“死亡”和“毁灭”的代名词。水是生命之源，但水也拥有毁灭的力量，那种力量叫——洪水。这些强大的急流每年可夺走大约两万五千人的生命。但这还不是最可怕的，据说在久远的年代，大自然显示过更大的威力。

Film of Simon Fisher Turner's new album, Instability of The Signal, directed by Japanese filmmaker Isao Yamada.

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed. Daniel Eisenberg scrutinises these interactions and gestures meticulously, and he pays close attention to each action involved and to the time required for each operation, from the starting point to the finished forms. With this film, Eisenberg continues the work he started with his previous one, The Unstable Object (FID 2011), in which he also used a triangular structure to compare the work in a high-tech car factory in Dresden, then in an antiquated clock repair shop in Chicago, and finally in a cymbal factory in Istanbul. From one production site to the next, the film focuses on hands, bodies, images: reconstructed bodies, modelled bodies, dressed bodies. And on the social body as well – either collective bodies at work, or their images, shaped by the very objects which are being produced. The patience of an attentive camera and the fascinating rhythm of this choreography let the gestures fully unfold. The geography of production modes also shapes the story it underlies, like the globalisation of exchanges. And what is also paramount here is that the time it takes to make the objects seems to mirror the experience of the viewer watching the film, like an echo between absorbed gazes, theirs like ours. A nice piece of actual work from the gaze and the mind about the ever so unstable object that is work. 　　源自：https://fidmarseille.org/en/film/the-unstable-object-ii/

1973年，女权运动蓬勃发展，29岁女子网球的霸主比莉-简-金也正值职业生涯的巅峰期。此时却跳出来一个已经55岁的前男子网球世界冠军鲍比-里格斯向全世界女…

在这部由获奖喜剧人汉娜·盖茨比主持的喜剧节目中，来自世界各地的性别酷儿喜剧演员在伦敦的亚历山德拉宫登台演出。

Examines the diversity of human sexual and gender variance around the globe, with commentary by scientific experts and first-hand accounts of people who do not conform to a simple male/female binary.

关于1973年女子网球选手比利·简·金与男选手鲍比·瑞格斯的跨性别网球大战，这场比赛以金的获胜结束，比赛有着非常重要的意义，包括让女性获得更大的自尊。

一位父亲和他的儿子突然被生命中所有的女人抛弃，试图找出问题所在。 　　男人一直认为大男子主义是尊重、领导力和勇气的代名词；男子气概是由男人不应该表露的感情造成的，或者至少是社会要求的。卡马乔家族就是这种情况，这是一个致力于医学的男性家族，其主要特征是性别歧视。有一天，这导致卡马乔家族的每一位女性都抛弃了她们的伴侣：长子阿尔瓦罗因为嫉妒他的妻子而被抛弃，因为她在职业上更加成功；朱利安因多次对他不忠而被未婚妻抛弃；但丁被现任女友抛弃，投奔了他在巴黎认识的一位瑞典人；族长奥古斯丁因在三十年的婚姻中不听妻子的话而被妻子抛弃。布鲁诺是卡马乔家族中唯一一个保持稳定关系的人，他是同性恋。 　　在此事件之后，卡马乔一家将不得不独自面对他们的恐惧，恰逢海伦娜的到来，她是一位在婚礼当天抛弃了未婚夫的女人，她将改变这个家庭中所有男人的生活。