讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

讲述德国重要的哲学流派——法兰克福学派的思想内容和历史。由3sat推出。

极寒末世前三天，我重生归来。上辈子，我收留抚养我长大的大伯一家避难，他们却为抢食物杀了我的狗，将我赶出别墅冻毙。如今知晓他们也已重生，我不再心软，一边疯狂囤物资、加固别墅，一边筹划复仇，誓要让这帮白眼狼付出代价。不料，刚准备回租房，竟听到里面传来大伯一家的熟悉声音。

极寒末世前三天，我重生归来。上辈子，我收留抚养我长大的大伯一家避难，他们却为抢食物杀了我的狗，将我赶出别墅冻毙。如今知晓他们也已重生，我不再心软，一边疯狂囤物资、加固别墅，一边筹划复仇，誓要让这帮白眼狼付出代价。不料，刚准备回租房，竟听到里面传来大伯一家的熟悉声音。

2024年夏天，西岸。拉希德是一位电子游戏开发者，他试图在以色列军队的突袭和加沙的战争中抚养他的两个儿子。在夜晚，他创造的游戏里，父母们再也无法保护他们的孩子。

2024年夏天，西岸。拉希德是一位电子游戏开发者，他试图在以色列军队的突袭和加沙的战争中抚养他的两个儿子。在夜晚，他创造的游戏里，父母们再也无法保护他们的孩子。

A marketing consultant, who has a psychological sensitivity to corporate symbols, is hired to seek the creators of film clips anonymously posted to the internet - before uncovering a larger conspiracy.

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)

“The cinematic spectacle has its rules, which enable one to produce satisfactory products. But dissatisfaction is the reality that must be taken as a point of departure. Whether dramatic or documentary, the cinema functions to present a false, isolated coherence as a substitute for communication and an activity that are absent. To demystify documentary cinema it is necessary to dissolve what is called its subject matter.” In this fascinating, seminal anti-film, Guy Debord articulates in full flesh his situationist manifesto, superimposing subtitles and a documentary-style commentary on a catalog of newsreel footage, book covers, rephotographed photographs, views of Paris’ neighborhoods, and seemingly candid footage of him and his friends in wandering between cafes and the street. Whereas the conventions of narrative fictional film would oblige us to separate the filmmaker Debord from both the voice of the film’s commentary and from the “character” played by Debord, a man in his late twenties pursuing a young girl who appears to be no more than seventeen. (源自: TIDF 2024)