位于加拿大曼尼托巴省的城镇温尼伯，听来遥远陌生，在盖·马汀的掌镜下，却生成了乡愁的有机体。透过梦呓的旁白说书、迷幻写实的黑白光影，导演亲自带路，娓娓道来家乡的历史、自然与人文踪迹，以及谜样传说。建构故事与剪接纪实之余，导演对家乡的抒情神往与奇想，让影片依附着神秘和追忆穿越时空，恍如隔世却又亲密温馨。

位于加拿大曼尼托巴省的城镇温尼伯，听来遥远陌生，在盖·马汀的掌镜下，却生成了乡愁的有机体。透过梦呓的旁白说书、迷幻写实的黑白光影，导演亲自带路，娓娓道来家乡的历史、自然与人文踪迹，以及谜样传说。建构故事与剪接纪实之余，导演对家乡的抒情神往与奇想，让影片依附着神秘和追忆穿越时空，恍如隔世却又亲密温馨。 　　现代, 加拿大 Manitoba 省 Winnipeg 市~ 导演 Guy Maddin 独坐在火车上, 正准备离开黑白色的家乡 Winnipeg, 和处处监管着他一举一动的母亲~ 一路上, 他在半梦半醒中忆述故乡的种种往事, 一些充满回忆的建筑物, 还有童年时与家人相处的点点滴滴~ 　　评语 　　加拿大导演 Guy Maddin 最近几部电影都沾上一点自传气息, “Cowards Bend the Knees” (弱者无腰骨) [2003] 以自己为主角讲冰上曲棍球, 上一部长片 “Brand Upon the Brain!” (追忆少年狂) [2006] 仍充当主角诉说一个奇情侦探故事, 今次索性以自己的童年和家乡 Winnipeg 的历史为题, 拍出一部充满奇想的自传电影~ 又或者如映后摄影师兼监制 Jody Shapiro 及导演在访问中所言, 称之为一部 “幻想纪录片” (docu-fantasia) 或更加合适~ 　　Guy Maddin 一向扮默片残片的新潮复古风格在这里依然处处可见, 不过这手法在此更成为一种实用而贴切的表现形式, 配合有如印象主义式的超快速剪接和导演本人不停喃喃自语的内心独白, 以表达主角 Guy Maddin (Darcy Fehr 饰) 半梦半醒的混乱思绪和复杂错乱的回忆片段~ 黑白菲林和残片朦胧不清的效果, 也正好切合长年严寒飘雪, 色彩单调的城市 Winnipeg 的风貌~ 　　在 “My Winnipeg” 故事中反覆重现的种种元素, 简直像是心理分析理论的教材, 例如缠绕心头不去的童年往事, 儿子对母亲又爱又怕的矛盾关系~ 那些一闪即逝的字幕卡就如被抑压的旧记忆, 主角对河流交汇处和母亲双腿的迷恋, 就如他一直潜藏在心底的 fixation~ 　　不过, 要是太严肃和理论性地分析这电影, 或会忽略这其实是一部非常有趣, 非常感人, 非常富创意, 刻意让真实与虚构混驳不清的独特作品~ 电影一方面把 Winnipeg 这个天气异常寒冷的偏远城市写成一个饶富诗意, 满街都是梦游者的地方, 又把城中的历史大事串连成一个个私人的回忆, 对一些具纪录价值的建筑物加上个人的情感投射, 爸爸的冰上曲棍球场和母亲的发廊固然是的场所, 就连镇上的名人们也成为追忆依恋的对象~

The explosive story of how a stubborn band of independent filmmakers started a film co-operative that became the most highly respected and mythologized film centre in Canada. Tales outlines the tremendous importance and impact of Winnipeg on the national filmmaking scene. Packed with rare archival footage, dynamic film excerpts, and hilarious interviews, this documentary traces the history of the legendary Winnipeg Film Group. We hear candid behind the scenes stories that illuminate the storied rise of acclaimed filmmakers like John Paizs (Crime Wave), Guy Maddin (Tales From The Gimli Hospital, My Winnipeg) Shawna Dempsey and Lorri Millan (We’re Talking Vulva, Good Citizen, Betty Baker) and Caroline Monnet (Ikwe). Often mired in controversy, the Film Group has been acclaimed at film festivals around the world – attested to by several Toronto film luminaries in the film – for subversive, original filmmaking. This documentary continues that tradition of bold, exuberant work.

With everything they've got, a couple throws themselves into a sailing race lasting several days and nights on a large lake.

“我”的小姑带着两岁的表妹回到中国，在湖边待了几天；“我”决定把这些拍下来。

海辺にある木原道彦の別荘に集まった若者たち、その中のひとり下条卓也は何事にもさめていて、仲間のバカ騒ぎに付き合おうとしない。また、桂葉子は急な連絡で家に帰ることに。実は父親が汚職が発覚し、代議士の大瀬戸の圧力から自殺してしまったのだ… 　　60年代安保の雰囲気の中、若者たちの姿を描いた。当時ラジオドラマなどを書いていたほとんど無名の寺山修司が榛葉栄治の原作を脚本化、これが２作目となる篠田正浩が監督した。“松竹ヌーベルバーグ”という波を起こした作品のひとつ。

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

早些时候，云南的泸沽湖边，有一个与世隔绝的摩梭部落，他们有着男不娶、女不嫁，情人之间夜合晨离（即“合法一夜情”），其子女靠母亲和舅舅抚养，而子女不知道父亲是谁的氏族婚姻形式。晚些时候，这个部落被外界称为：人类仅存的母系氏族部落。 　　近20年来，由于外来文化的进入，特别是发展经济的影响，这个沿袭久远的习俗，开始分崩离析。政治高压未曾动摇的传统，而在经济的渗入下，开始走向大同。