Un professeur de dessin demande à ses élèves de 10 à 15 ans de faire un portrait de Picasso. La confrontation des dessins obtenus et des commentaires des jeunes auteurs se révèle surprenante. La spontanéité, l'insolence, la drôlerie des propos tranchent avec le discours culturel traditionnel.

兔妈妈在拔萝卜时，兔宝宝小白躲在萝卜后面捉迷藏。兔妈妈告诉他不要乱跑，山里有狼。小白兔马上就说：“我知道，我知道。”兔妈妈问狼是什么样子。小白连说：“狼的样子是小小的眼睛大嘴巴，尖尖的牙齿长尾巴”。兔妈妈告诫小白，遇到狼不要跑，要钻进洞里，小白又说：“我知道，我知道。”其实小白兔根本不知道狼真正是什么样子。

兔妈妈在拔萝卜时，兔宝宝小白躲在萝卜后面捉迷藏。兔妈妈告诉他不要乱跑，山里有狼。小白兔马上就说：“我知道，我知道。”兔妈妈问狼是什么样子。小白连说：“狼的样子是小小的眼睛大嘴巴，尖尖的牙齿长尾巴”。兔妈妈告诫小白，遇到狼不要跑，要钻进洞里，小白又说：“我知道，我知道。”其实小白兔根本不知道狼真正是什么样子。

小白兔在妈妈的保护下长大，以为自己什么都知道，“我知道”也就成为她的口头禅，但是她真的都知道么？她在森林中会遇到什么危险呢？

There are days when I tell myself that I’m not worthy of my friends. Other days when I look at them looking at me and I think: “The others all failed from the very start but we’re gonna make it.” And then I tell myself : “Even that idea will get old, so quick, quick, let’s film it.” You scribble a story about parents who take their kids hostage, and you ask a really pretty girl to play the boy who wants all the girls.” You project that on a big screen and you see what that gives you. Ah there, my friends on the big screen because I think they’re very handsome.

《我的朋友》邀请FIRST FRAME年度推荐人周迅、王一博共同演绎，由青年导演张大磊执导，描摹寻常处的体面之美，捕捉人情的隽永时刻，复现电影所带来的的生活向往。《我的朋友》亦如穿越时空的影票，诚邀观众走进FIRST FRAME的影像世界，以电影传统传承启发，鼓励青年影人的创造精神，以经典重现过去，以时光雕刻未来。 　　当耳畔响起女主角小周温柔平实的喃喃絮语，我们与当下暂别，一起回到90年代的日常。小周以检票员的身份打开观众前往影像世界的入口，电影院如同永驻的庇护所，银幕悄然召唤人群，人与人因电影而久别重逢，相互安慰，荡漾情谊的波澜。《我的朋友》因复归影院精神而熠熠生辉，银幕之光照应万「帧」流转，而独一无二的电影样本与人情聚离，蕴藉隽永。交错光影映照出小周与一博的面容，成为朋友的契机悄然而至，而电影亦是每一个人的朋友。

《我的朋友》邀请FIRST FRAME年度推荐人周迅、王一博共同演绎，由青年导演张大磊执导，描摹寻常处的体面之美，捕捉人情的隽永时刻，复现电影所带来的的生活向往。《我的朋友》亦如穿越时空的影票，诚邀观众走进FIRST FRAME的影像世界，以电影传统传承启发，鼓励青年影人的创造精神，以经典重现过去，以时光雕刻未来。 　　当耳畔响起女主角小周温柔平实的喃喃絮语，我们与当下暂别，一起回到90年代的日常。小周以检票员的身份打开观众前往影像世界的入口，电影院如同永驻的庇护所，银幕悄然召唤人群，人与人因电影而久别重逢，相互安慰，荡漾情谊的波澜。《我的朋友》因复归影院精神而熠熠生辉，银幕之光照应万「帧」流转，而独一无二的电影样本与人情聚离，蕴藉隽永。交错光影映照出小周与一博的面容，成为朋友的契机悄然而至，而电影亦是每一个人的朋友。

故事发生在20世纪康涅狄格州的三河市，多米尼克（马克·鲁法洛 Mark Ruffalo 饰）是一个陷入了水深火热之中的男人。他曾经拥有一个幸福美满的家庭，却因为刚刚出生的孩子的意外死亡而导致了和妻子之间感情的破裂，不仅如此，多米尼克的弟弟托马斯（马克·鲁弗洛 Mark Ruffalo 饰）患有妄想型精神分裂症，常常会做出伤害自己的举动，需要身为哥哥的多米尼克处处提防。在弟弟最终还是自杀身亡之后，多米尼克决定从自己的血脉中寻找答案，于是开始研究在很早之前就离开了他的父亲的真实身份，由此发现了自己家族所隐瞒的有关遗产的秘密。

Andrew Dominik’s career has been crossing paths with Nick Cave’s since 2000’s Chopper, which was scored by original Bad Seeds member Mick Harvey. Seven years later, Cave wrote the music for The Assassination of Jesse James by the Coward Robert Ford, assisted by another bandmate, Warren Ellis. The next step in this decade-long friendship and partnership was the 2016 film One More Time with Feeling, in which Cave chose to present his album “Skeleton Tree”, having withdrawn from all promotional tours and interviews after his son’s death. In 2021, Cave once again found himself unable to perform live on stage, only this time he shared his predicament with musicians everywhere who were also obliged to give up audience contact on account of the pandemic. And so, for the second time, cinema becomes the preferred means of breaking the vocal and instrumental silence. Besides snippets of conversations and musings between the musicians and the director, Dominik’s enveloping cameras capture an intense studio session with Cave and Ellis (with a Marianne Faithfull cameo) featuring piano and string-dominated tracks from the latest albums, 2019’s “Ghosteen” and 2021’s “Carnage”.

Andrew Dominik’s career has been crossing paths with Nick Cave’s since 2000’s Chopper, which was scored by original Bad Seeds member Mick Harvey. Seven years later, Cave wrote the music for The Assassination of Jesse James by the Coward Robert Ford, assisted by another bandmate, Warren Ellis. The next step in this decade-long friendship and partnership was the 2016 film One More Time with Feeling, in which Cave chose to present his album “Skeleton Tree”, having withdrawn from all promotional tours and interviews after his son’s death. In 2021, Cave once again found himself unable to perform live on stage, only this time he shared his predicament with musicians everywhere who were also obliged to give up audience contact on account of the pandemic. And so, for the second time, cinema becomes the preferred means of breaking the vocal and instrumental silence. Besides snippets of conversations and musings between the musicians and the director, Dominik’s enveloping cameras capture an intense studio session with Cave and Ellis (with a Marianne Faithfull cameo) featuring piano and string-dominated tracks from the latest albums, 2019’s “Ghosteen” and 2021’s “Carnage”.