An un-missable look at one of the art world’s most fascinating controversies and a celebrated selection of the Toronto, New York and AFI Film Festivals, Don Argott’s gripping documentary THE ART OF THE STEAL chronicles the long and dramatic struggle for control of the Barnes Foundation, a private collection of art valued at more than $25 billion. In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art, located just five miles outside of Philadelphia. Now, more than 50 years after Barnes’ death, a powerful group of moneyed interests have gone to court for control of the art, and intend to bring it to a new museum in Philadelphia. Standing in their way is a group of Barnes’ former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed. Will they succeed, or will a man’s will be broken and one of America’s greatest cultural monuments be destroyed?

An un-missable look at one of the art world’s most fascinating controversies and a celebrated selection of the Toronto, New York and AFI Film Festivals, Don Argott’s gripping documentary THE ART OF THE STEAL chronicles the long and dramatic struggle for control of the Barnes Foundation, a private collection of art valued at more than $25 billion. In 1922, Dr. Albert C. Barnes formed a remarkable educational institution around his priceless collection of art, located just five miles outside of Philadelphia. Now, more than 50 years after Barnes’ death, a powerful group of moneyed interests have gone to court for control of the art, and intend to bring it to a new museum in Philadelphia. Standing in their way is a group of Barnes’ former students and his will, which contains strict instructions stating the Foundation should always be an educational institution, and that the paintings may never be removed. Will they succeed, or will a man’s will be broken and one of America’s greatest cultural monuments be destroyed?

丹麦重量级的商业电影，描述偷画大盗的惊悚片。米克和汤姆是一对靠不住的父子小贼。 他们被雇从一座博物馆内偷一幅油画。意外中，他们偷错了画：丹麦的唯一的原版林布兰特的杰作，值数百万。

丹麦重量级的商业电影，描述偷画大盗的惊悚片。米克和汤姆是一对靠不住的父子小贼。 他们被雇从一座博物馆内偷一幅油画。意外中，他们偷错了画：丹麦的唯一的原版林布兰特的杰作，值数百万。

御仓深冬最讨厌书了！尽管从曾祖父那代，御仓家就经营书香小镇读长町最大的书库「御仓馆」，但深冬根本不想从父亲那里接手管理，更觉得整天只会看书和睡觉的姑姑是大怪人。她一心只想着以后要把御仓馆卖掉。 　　某天，深冬从沉睡的姑姑手中发现一张纸──正确来说，是符咒。 　　窃取本书者 　　将会遭受魔幻写实主义的大旗追赶 　　深冬才刚念完，一位自称「真白」的白发少女突然出现，拿了一本《繁茂村的兄弟》给深冬：「这里遭小偷，诅咒发动了。深冬得看书才行。」深冬一头雾水，本来就不爱书的她，当然看不懂这个故事在说什么。但更奇怪的是，当她走出御仓馆，天上的满月竟然像只黑猫在眨眼，还哗啦啦地下起了珍珠雨。而镇上的人不但认不得深冬，身上还多了名牌，写着《繁茂村的兄弟》角色的名字……不会吧，整个读长町都变成书中的世界了？！ 　　只有抓到小偷，读长町才能恢复原状。而就在此时，深冬发现自己和居民们竟长出了毛茸茸的兽耳和尾巴，变得越来越像狐狸……

暂无剧情简介

纪录片《老祖的声音》关注中国传统的民族、民间音乐在当下的生存状态。老村长林中树这个人物是中国当代版的堂吉诃德。他是一个永远前进的形象，是一个可爱的幻想家，一个理想主义者。同时他又是一个实用主义者，一个注重实际的人。传统与现代，文化与经济，民间组织和政府机构层层叠叠的矛盾都在屈家营音乐会交织、扭结，而老林27年来就处在这个结的中心，他用儒家的中庸和毛时代的方法使这一传统音乐在当下苟延残喘。他游刃有余，可也心力交瘁。 　　处于激烈变革时代的中国社会，人们往往用经济尺度衡量一切，这种娱神、娱鬼的传统音乐不能换来经济利益，当然也难以抵挡流行文化的冲击，面临着尴尬的生存处境。可不知何时它又成为能换来利益的非物质文化产品。音乐会及辛苦多年建成的演出场所成为各类官人的谋利工具和秀场，林中树陷入了自我编制的罗网。他常困惑，却也乐在网中，他把带着苦涩味道的智慧献给了家乡的文化事业——屈家营音乐会。林中树和他的屈家营音乐会的历史就是当代中国一部独特的音乐文化传承史的缩影。 　　制作机构：热浪纪录片工作室 　　片名：老祖的声音 　　制片人：张艳萍 　　摄影：王清仁、邓建波、李盛东、王与时 　　录音：王倜、王齐、陈晓伟 　　剪辑：王清仁 　　出品年代：2012年9月 　　时长：113分钟 　　色彩：彩色 　　对白：汉语方言（河北省） 　　字幕：中文字幕 　　导演：王清仁 　　王清仁，1961年出生，热浪纪录片工作室创办人。纪录片是他的工作方式也是生活方式。通过纪录片的窗口他认识世界、了解人，不断深化和改变对自我的认识，在电影里得到自由和快乐。 　　参与制作的影片 　　2002年：《军训营纪事》（制片人/录音） 影片入选2003年FIPA竞赛 　　2003年：《喧哗的尘土》（制片人） 影片入选2004年IDFA竞赛 　　2005年法国马赛电影节获奖 　　导演/拍摄/剪辑的影片 　　2005年：《中国夏令营》 获阿姆斯特丹纪录片 Jan Vrijman 基金支持 　　2005年：《最后的合影》 中国中央电视台播出 　　2007年：《合唱》 北京798伊比利亚影像档案馆收藏 　　2009年：《博弈》 2010年3月入选第34届香港国际电影节 　　2010年12月入选第二届澳门国际电影节 　　2010年10月第七届中国独立影像年度展十佳影片

纪录片《老祖的声音》关注中国传统的民族、民间音乐在当下的生存状态。老村长林中树这个人物是中国当代版的堂吉诃德。他是一个永远前进的形象，是一个可爱的幻想家，一个理想主义者。同时他又是一个实用主义者，一个注重实际的人。传统与现代，文化与经济，民间组织和政府机构层层叠叠的矛盾都在屈家营音乐会交织、扭结，而老林27年来就处在这个结的中心，他用儒家的中庸和毛时代的方法使这一传统音乐在当下苟延残喘。他游刃有余，可也心力交瘁。 　　处于激烈变革时代的中国社会，人们往往用经济尺度衡量一切，这种娱神、娱鬼的传统音乐不能换来经济利益，当然也难以抵挡流行文化的冲击，面临着尴尬的生存处境。可不知何时它又成为能换来利益的非物质文化产品。音乐会及辛苦多年建成的演出场所成为各类官人的谋利工具和秀场，林中树陷入了自我编制的罗网。他常困惑，却也乐在网中，他把带着苦涩味道的智慧献给了家乡的文化事业——屈家营音乐会。林中树和他的屈家营音乐会的历史就是当代中国一部独特的音乐文化传承史的缩影。 　　制作机构：热浪纪录片工作室 　　片名：老祖的声音 　　制片人：张艳萍 　　摄影：王清仁、邓建波、李盛东、王与时 　　录音：王倜、王齐、陈晓伟 　　剪辑：王清仁 　　出品年代：2012年9月 　　时长：113分钟 　　色彩：彩色 　　对白：汉语方言（河北省） 　　字幕：中文字幕 　　导演：王清仁 　　王清仁，1961年出生，热浪纪录片工作室创办人。纪录片是他的工作方式也是生活方式。通过纪录片的窗口他认识世界、了解人，不断深化和改变对自我的认识，在电影里得到自由和快乐。 　　参与制作的影片 　　2002年：《军训营纪事》（制片人/录音） 影片入选2003年FIPA竞赛 　　2003年：《喧哗的尘土》（制片人） 影片入选2004年IDFA竞赛 　　2005年法国马赛电影节获奖 　　导演/拍摄/剪辑的影片 　　2005年：《中国夏令营》 获阿姆斯特丹纪录片 Jan Vrijman 基金支持 　　2005年：《最后的合影》 中国中央电视台播出 　　2007年：《合唱》 北京798伊比利亚影像档案馆收藏 　　2009年：《博弈》 2010年3月入选第34届香港国际电影节 　　2010年12月入选第二届澳门国际电影节 　　2010年10月第七届中国独立影像年度展十佳影片

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.

The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. 　　Alexander Kluge: The Power of Feeling 　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. 　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. 　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. 　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.