Two best friends from childhood stumble on a shipment of guns, they seize a once in a lifetime opportunity to get rich quick. Way over their heads, their wild ride takes a dangerous turn onto an underground world of gun-running mercenaries and local gangs, challenging their friendship and threatening their lives. The film is an explosive journey into the social fabric of the Arabian Gulf and an unexpected window into the dark inner workings of its crime networks.

Ce qui est frappant quand vous parlez avec des mathématiciens, c’est cet éclat dans les yeux, cette voix soudainement joyeuse qui tente de vous faire partager un concept, une théorie, comme autant de morceaux de vérité vers la connaissance du monde. 　　En les écoutant, ce sont les mots invention, beauté, liberté qui reviennent sans cesse. 　　Vous êtes alors pris d’un vertige : comment en est-on arrivé à ce que ce langage riche de promesses, cette proposition quasi philosophique sur le monde devienne un langage rejeté par une majorité, « la seule discipline où l’on se targue d’être nul »! 　　Mais depuis 40 ans, les mathématiques sont devenues incontournables pour le meilleur et parfois pour le pire!

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home.

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. 　　La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. 　　Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. 　　To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. 　　Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. 　　People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. 　　A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。

影片讲述了被遗弃的小男孩孔德尔（彼得·贾戈尔斯基 Piotr Jagielski 饰）不断寻求自身归属感，找寻精神家园的命运故事。从小被母亲遗弃的孔德尔，在孤儿院的生活充满压抑和克制。母亲一心寻找所谓的真爱，嫌弃孔德尔是自己的累赘，非但不收留儿子，反而置自己的亲生骨肉于不顾。面对母亲的抛弃，小孔德尔失声痛哭。终于，才十一岁大的孔德尔毅然逃离孤儿院，去追寻属于自己的家园。孔德尔开始了他的流浪生活，寄住在一艘废弃的破船上，于此有了一个“家”。弃船对面住着一户富裕人家，小女孩跟他年纪相仿，受过良好的教育生活条件优越。然而因为长相难看，总是受到排挤和冷落，直到遇见一样孤独的孔德尔，幼小的心灵自此有了彼此的慰藉。 　　本片荣获2006年柏林电影节特别致意最佳影片奖。

影片讲述了被遗弃的小男孩孔德尔（彼得·贾戈尔斯基 Piotr Jagielski 饰）不断寻求自身归属感，找寻精神家园的命运故事。从小被母亲遗弃的孔德尔，在孤儿院的生活充满压抑和克制。母亲一心寻找所谓的真爱，嫌弃孔德尔是自己的累赘，非但不收留儿子，反而置自己的亲生骨肉于不顾。面对母亲的抛弃，小孔德尔失声痛哭。终于，才十一岁大的孔德尔毅然逃离孤儿院，去追寻属于自己的家园。孔德尔开始了他的流浪生活，寄住在一艘废弃的破船上，于此有了一个“家”。弃船对面住着一户富裕人家，小女孩跟他年纪相仿，受过良好的教育生活条件优越。然而因为长相难看，总是受到排挤和冷落，直到遇见一样孤独的孔德尔，幼小的心灵自此有了彼此的慰藉。 　　本片荣获2006年柏林电影节特别致意最佳影片奖。

这是一个多段式故事，四个人的命运相互交织，却各自有着不为人知的秘密。所有的人一边找寻着尊严，一边战胜着恐惧。

How did a group of rebels create the world’s most famous street? In 1969 New York, this “gang” of mission-driven artists, writers and educators catalyzed a moment of civil awakening, transforming it intoSesame Street, one of the most influential and impactful television programs in history.