Baltimore native Matthew VanDyke’s lifelong dream was to make an adventure film. So in 2007, he embarks on a “crash course in manhood,” a solo journey across North Africa and the Middle East with only his video camera and a motorbike. But travelling through the Libyan Desert puts an unexpected twist on his plans, as he joins forces with the rebels to oust Moammar Gadhafi. He’s soon captured and placed in solitary confinement for six months—not an easy situation for a young, middle-class man who’s struggled all his life with obsessive-compulsive disorder. Oscar-nominated director Marshall Curry finds a gripping entry into VanDyke’s perspective. Not afraid to ask hard questions, Curry uncovers a compelling and intriguing story of a boy who went searching to become a man and ended up a freedom fighter. Kathleen Mullen

原创古风小短剧。

原创古风小短剧。

江离苦修五百年成为人皇，也是当世唯一大乘期修士，却因为天梯断裂无法成仙，屡次尝试飞升失败后，他突然觉醒了本该给炼气期新手的逆袭系统，这个迟来了五百年的系统发布了一系列令人哭笑不得的新手任务，于是，江离只好一边吐槽系统延迟，一边完成任务，解决一系列事件，他穿梭于鸣钟世界、封墨世界等异世，探寻隐藏在系统背后的成仙天梯断裂的真相。

江离苦修五百年成为人皇，也是当世唯一大乘期修士，却因为天梯断裂无法成仙，屡次尝试飞升失败后，他突然觉醒了本该给炼气期新手的逆袭系统，这个迟来了五百年的系统发布了一系列令人哭笑不得的新手任务，于是，江离只好一边吐槽系统延迟，一边完成任务，解决一系列事件，他穿梭于鸣钟世界、封墨世界等异世，探寻隐藏在系统背后的成仙天梯断裂的真相。

这是一个当人类仍鲜少与宝可梦亲近生活的遥远过去的故事。 　　在前往洗翠地区的船上，晓星想起和父亲初次去那个地方的时候。 　　「人和宝可梦是不能共存的」 　　幼小的晓星被父亲这样教导著。 　　就在此时，在被雪覆盖的森林中和晓星相遇的是一只洗翠的样子索罗亚――。 　　人真的不能和宝可梦共存吗？

Generations is a 30 minute16mm film about mentoring and passing on the tradition of personal experimental film making. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, New York, the filmmakers find that the inevitable fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely separately both picture and sound, the filmmakers join their films in the middle when they have finished making a true generational and experimental experiment.

In collaboration with director Terrence Malick and his coworkers, this film shows the power of Pixel 3's advanced camera. It is a celebration of humanity's innate sense of curiosity and wonder.

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/