亨利·卡维尔将主演游戏改编真人版剧集《战锤40K》，他还将担任执行制片人。

亨利·卡维尔将主演游戏改编真人版剧集《战锤40K》，他还将担任执行制片人。

亨利·卡维尔将主演游戏改编真人版剧集《战锤40K》，他还将担任执行制片人。

Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

‘My mum left me when I was a baby, she never saw a celebration, and she’ll never see one. Oh generation of god.’ In Kinyarwanda ‘Imfura’ means first-born, the noble one, gentleman. Gisa, a young man, travels to his mother’s village. He never got to know her, since she disappeared in the genocide. Gisa wants to comprehend, to remember, so he meets those who remain. Much has changed. Various chants and rituals guide him in his search. The memory is inside him, the midwife says, has always been with him. He is not alone. He is alone however when he is suddenly forced to choose a position in a fight over an inheritance, a shell of a house. The ruins represent the visible remains of the genocide. 　　The film’s hybrid form, its fusion of documentary and staged material, gives it a great sense of immediacy. Imfura is the first Rwandan production to be included in the competition of Berlinale Shorts

Late for the last commuter train and reluctant to spend the night outdoors, two young men trick a family into letting them stay in their apartment: one of them insists that he's the illegitimate son of the man who owns the apartment.

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

‘My mum left me when I was a baby, she never saw a celebration, and she’ll never see one. Oh generation of god.’ In Kinyarwanda ‘Imfura’ means first-born, the noble one, gentleman. Gisa, a young man, travels to his mother’s village. He never got to know her, since she disappeared in the genocide. Gisa wants to comprehend, to remember, so he meets those who remain. Much has changed. Various chants and rituals guide him in his search. The memory is inside him, the midwife says, has always been with him. He is not alone. He is alone however when he is suddenly forced to choose a position in a fight over an inheritance, a shell of a house. The ruins represent the visible remains of the genocide. 　　The film’s hybrid form, its fusion of documentary and staged material, gives it a great sense of immediacy. Imfura is the first Rwandan production to be included in the competition of Berlinale Shorts