Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

"杨天只是一个小小的送外卖员，不料确被公司总裁看上眼，但小伙的身份并不是那么简单，他又会和女总裁发声什么故事呢？ "

This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography. 　　One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

姜鱼刚回国就收到母亲送来的结婚证，据说结婚对象人品德行都很烂，姜鱼为了离婚当晚阴差阳错的睡了一个男模，没想到这个假男模就是自己的老公。

姜鱼刚回国就收到母亲送来的结婚证，据说结婚对象人品德行都很烂，姜鱼为了离婚当晚阴差阳错的睡了一个男模，没想到这个假男模就是自己的老公。

龙殿叶尘为了大夏自愿喝下剧毒无心酒，修炼九死无生功，尘封三年，痴傻三年。叶家满门英烈，叶尘五个嫂嫂成为遗孀，在灵堂时遭到明诗音退婚，对叶尘踩压。五个嫂嫂愤然出面，甘愿嫁给叶尘，五大家主阻拦，她们自断前程同时也断绝家族关系，宋天霸刁难叶家人和叶尘，午时至，叶尘暴力反击把他击杀。明诗音和龙殿拂尘宫宫主震怒，要惩治叶尘，宋平对付叶尘无果，请出大夏武神许冲，许冲控诉叶家贪污，导致十万叶家军埋骨黄土，并且拿出尚方宝剑对叶尘出手。国之利剑不杀忠良，叶尘在尚方宝剑下完...

苏可心为了调查内鬼偷偷潜入自家公司，一同入职的实习生付婧竟然假冒总裁夫人，随着苏可心身份的揭露，内鬼也渐渐的浮现出来，苏可心惊奇的发现，这件事的背后居然是自己的亲生父亲苏国立指示的，在亲情与爱情的抉择中，苏可心该如何选择？而总裁夫人的身份，究竟是苏可心的救赎还是枷锁？

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.