这是一部关于冲浪的体育记录片。两个来自加州的年轻人， 　　罗伯特·奥古斯特（Robert August）和迈克·汉森（Mike Hynson），为了找到他们心目中完美的海浪，进行了一次环球旅行。足迹遍布夏威夷、西非，直至澳大利亚。一些真正的冲浪选手也参与了该片的拍摄工作。影片充满了60年代中期的气息。人们不仅可以看到那时冲浪选手们的装束，还可以了解到第三世界的住宅和燃料问题。虽然三十年后的今天，这些早已过时，但导演布鲁斯·布朗（Bruce Brown）独特的叙事手法使得该片仍然不失为一部佳作。随着两个年轻人旅程的不断深入，我们尽情地领略了大自然的美妙，同时，各种不同文化之间的碰撞与冲突也展现眼前。也许这才是导演真正想要传达的意图吧。

这是一部关于冲浪的体育记录片。两个来自加州的年轻人，罗伯特·奥古斯特和迈克·汉森，为了找到他们心目中完美的海浪，进行了一次环球旅行。足迹遍布夏威夷、西非，直至澳大利亚。一些真正的冲浪选手也参与了该片的拍摄工作。影片充满了60年代中期的气息。人们不仅可以看到那时冲浪选手们的装束，还可以了解到第三世界的住宅和燃料问题。虽然三十年后的今天，这些早已过时，但导演布鲁斯·布朗独特的叙事手法使得该片仍然不失为一部佳作。随着两个年轻人旅程的不断深入，我们尽情地领略了大自然的美妙，同时，各种不同文化之间的碰撞与冲突也展现眼前。也许这才是导演真正想要传达的意图吧。

Bruce Brown, king of surfing documentaries, returns after nearly thirty years to trace the steps of two young surfers to top surfing spots around the world. Along the way we see many of the people and locales Bruce visited during the filming of Endless Summer (1966).

每一年的夏天都会过去，但我们相聚在夏天的约定，不曾改变。无尽的夏天，无尽的冒险。这个夏天，又将有怎样的新鲜事？ 　　时代少年团作为有一定影响力的公众团体，坚持用高质量的舞台和作品向观众传递积极的新青年形象。用音乐让丰富多元的传统文化元素焕发光彩，为广大粉丝群体带去不断向上的勇气与力量。 　　本次演唱会立足于国际流行音乐潮流，尝试从中国绵延的文化中汲取养分，探索更具时代性的“新国风” 舞台。通过多样而丰富的舞台展现Z世代传承传统文化的志趣与声量。 　　花开无尽，让我们共赴夏日之约。

聚焦未成年人司法保护，讲述了未成年人检察小组初创，检察官林之桃与助理检察员白恩宇，为了孩子们，携手对抗人性之恶的故事。 　　始于悬念，终于救赎；拨开迷惘，山止川行。

伊尼奥和罗莎是一对新婚夫妇，没想到他们结婚才几个月，西班牙内战爆发。伊尼奥作为亲共分子被弗朗哥独裁政府抓捕，在被押解的路上，伊尼奥想办法逃回了家中。为躲避再一次被捕，伊尼奥在罗莎的帮助下，藏身于自家的地洞里长达30年。

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders

コリオグラファー宮本賢二×漫画家上條淳士×フィギュアスケート 　　超異色のコラボレーションアニメ作品！！

Dichter Nebel führt zur Absage aller Abflüge und Landungen auf dem Flughafen Berlin-Tempelhof. In Episoden greift der Film das Leben einiger Passagiere auf, die in der Halle warten müssen. Unter den Fluggästen: eine polnische Jazz-Band, ein afrikanischer Farmer, ein Model und ihr verheirateter Freund, ein britisches Ehepaar. Am Rande spielen die Schicksale des Flugpersonals mit hinein. Für einige Passagiere verändert sich in der langen Nacht unerwartet ihr Leben, andere machen im alten Trott weiter. 　　Der zweite Spielfilm des Journalisten Will Tremper (1928 – 1998; “Playgirl”). Tremper drehte mit Minimalbudget sechs Wochen in Tempelhof und wurde vom Personal begeistert unterstützt. Die Premiere fand in der Haupthalle des Flughafens statt. Die frühe, vor “Hotel International” entstandene “Airport”-Version gilt wegen des frischen Regiestils und der natürliche agierenden Darsteller als Vorläufer des Neuen Deutschen Films und machte Harald Leipnitz (als Geschäftsmann Spitz) über Nacht bekannt. Mit Hannelore Elsner als Starlet Sylvia.