不温馨的伊朗短片小品。24岁的莎拉是马丁的保母，负责在他的母亲工作时照顾他。一天，马丁告诉她昨晚与母亲发生了争吵，心事重重的莎拉因此有所举动，殊不知，这也让她与马丁的生活产生了变化。透过女子与孩子、受雇者与雇主、说谎者与圆谎者的重重关系，讲述一个探讨道德模糊界线的精彩故事。因一起偷窃事件，将人性发挥得淋漓尽致。究竟，谁才是真正的说谎者？

不温馨的伊朗短片小品。24岁的莎拉是马丁的保母，负责在他的母亲工作时照顾他。一天，马丁告诉她昨晚与母亲发生了争吵，心事重重的莎拉因此有所举动，殊不知，这也让她与马丁的生活产生了变化。透过女子与孩子、受雇者与雇主、说谎者与圆谎者的重重关系，讲述一个探讨道德模糊界线的精彩故事。因一起偷窃事件，将人性发挥得淋漓尽致。究竟，谁才是真正的说谎者？

The wheels of Chinese justice turn slowly, if at all, in One Summer after Zhen Liu’s husband is arrested and detained with no explanation. She turns to his friends, co-workers and finally an old flame for help, all of which come at a price.

The wheels of Chinese justice turn slowly, if at all, in One Summer after Zhen Liu’s husband is arrested and detained with no explanation. She turns to his friends, co-workers and finally an old flame for help, all of which come at a price.

《下一个秋天》是西班牙导演Antonio Eceiza的代表作之一，也是Víctor Erice早年参与编剧的电影。Eceiza是60年代新西班牙电影运动中巴斯克地区的重要导演，他的一生都在为巴斯克电影的成长和发展做着努力。这部影片属于典型的新写实主义风格，影片由著名制片家Elías Querejeta监制，摄影是Luis Cuadrado，他后来是Erice的《蜂房的精神》的摄影师。 　　Director, screenwriter, and producer Antonio Eceiza has spent the latter part of his career working in and promoting the growth of Basque cinema. After Eceiza obtained a law degree from the Universidad de Valldolid, he studied film direction at the Instituto de Investigaciones y Experiencias Cinematográficas in the late '50s, though he never graduated. Eceiza worked as a film critic and an assistant director before teaming up with influential producer Elías Querejeta to produce a pair of short documentaries in the early '60s. Thereafter, Querejeta produced all of Eceiza's early films. Due to his radical political associations, Eceiza moved to Mexico in 1973, where he made two films and lectured at Mexico's Centro Universitario de Estudios Cinematográficos. In 1978, he returned to Spain to work in Basque cinema. Eceiza has subsequently used the Basque spelling of his name in the film credits, Antxon Exeiza. 　　Long regarded as central to the development of art cinema in Spain, the Nuevo Cine Espanol/New Spanish Cinema movement of the 1960s is currently being reconsidered in the light of recent scholarship. These interviews contribute to this reassessment by bringing to our attention the experiences of two directors who were peripheral to the movement as a whole. Antxón Eceiza, author of the Neorealist El próximo otono/Next Autumn (1963) and formally eclectic De cuerpo presente/Present in Body (1965), reveals these anti-Francoist directors' contradictory experiences of accepting subsidies from the state and representing Spain at foreign film festivals.

「大奥　浮世悲恋」「アシンメトリー」のD-BOYS荒木宏文と、ミュージカル界で活躍する山崎育三郎が主演する青春映画。監督は「花ゲリラ」の川野浩司、脚本は「トワイライトシンドローム／デッドゴーランド」では監督を務めた安里麻里。サイクル便のメッセンジャーとして働く純也は、飛び降り自殺を考えていた真太郎に出会い、その後偶然に真太郎が原因で事故にあってしまう。事故がきっかけで2人は心を通わすようになるのだが……。