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。

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/

17岁库德族少女小琴从游击队叛逃，一路上背着枪枝穿越暗夜丛林，躲避政府军和自己的同伙。她编造理由搭便车远行，徒手面对意图强暴的工头，一路上险象环生，最终在同样患难的动物间得到温暖。旅途上无止尽的凶险中，野兽们似乎是她那渺小存在的唯一见证。导演刻画人与万物间的交流慰藉，以充满神性的写实凝视开创独特的电影语言，惊艳国际。

以天竺为目标的僧人玄奘（仓科加奈 饰）正行走在漫长而艰辛的旅途之上。这一天，老爷爷（山田凉成 饰）和老婆婆（笹野高史 饰）找到玄奘，希望他能封住不良少年山田太郎（松山研一 饰）的妖力。凭借宝珠的力量，太郎的妖力遭到封印，而他也被迫跟随玄奘踏上洗心革面的征途。这个时常全裸且肆无忌惮放着臭屁的问题少年，将给这段征程增添怎样的色彩呢？ 　　本片根据漫☆画太郎的搞笑漫画改编，影片首周初登场观众满意度排名第十位。

以天竺为目标的僧人玄奘（仓科加奈 饰）正行走在漫长而艰辛的旅途之上。这一天，老爷爷（山田凉成 饰）和老婆婆（笹野高史 饰）找到玄奘，希望他能封住不良少年山田太郎（松山研一 饰）的妖力。凭借宝珠的力量，太郎的妖力遭到封印，而他也被迫跟随玄奘踏上洗心革面的征途。这个时常全裸且肆无忌惮放着臭屁的问题少年，将给这段征程增添怎样的色彩呢？ 　　本片根据漫☆画太郎的搞笑漫画改编，影片首周初登场观众满意度排名第十位。

讲述了恋物癖女孩珍妮……与游乐园设施珍布……之间的爱情故事。

讲述了恋物癖女孩珍妮……与游乐园设施珍布……之间的爱情故事。

珍妮弗（杰米·普莱斯利 Jaime Pressly 饰）是一位脾气火爆的单亲妈妈，因为自己的口无遮拦，珍妮弗在一次争吵中丢掉了赖以生存的工作，整个家庭被彻底截断了经济来源，无奈之下，珍妮弗只得向母亲寻求帮助，并且来到了兄弟维恩（伊桑·苏普利 Ethan Suplee 饰）的酒吧里成为了那里的一名酒保。 　　所谓多个朋友多条路，回到家乡的珍妮弗决定再度联系上了曾经的好友蒂娜（米西·派勒 Missi Pyle 饰），尽管珍妮弗在人生得意之时对待这位好友的态度十分恶劣，但她还是决定试一试能否和蒂娜重修旧好。虽然蒂娜和珍妮弗之间存在着心结，但是，两人的个性和人生遭遇实在是太相称了，她们就好像磁铁的正负极，互相吸引着。