In 1968, Silvio Amadio directed L'isola delle svedesi (Island of the Swedes) (1969), the story which bordered on the dramatic and erotic genre about two lesbian women and the arrival of a third party in their menage, a young boy, which leads to tragic consequences. The script was by Roberto Natale, who had already worked with Mario Bava and who went on to write Peccati di gioventu (So Young, So Lovely, So Vicious...) for Amadio where the lesbian theme is tackled in a similar way to the previous film. 　　The female “special love” trend was a reality which was already consolidated in European cinema of this genre, following the huge success of Les biches by Claude Chabrol (1968) and Le salamandre by Alberto Cavallone (1969). This was a popular theme with the audiences and in the case of Peccati di gioventu includes the attraction represented by Gloria Guida, an actress who was rising to stardom and who owed her film debut to Silvio Amadio who discovered her and brought out the best in her more than any other director. Alongside Gloria Guida was the beautiful Dagmar Lassander, who also created a chromatic contrast (the blonde Guida, Lassander the red-head), which in the erotic scenes interpreted by them with the wild and contaminated natural landscape of Sardegna (where the film is set) as background, the fascinating vision of everything (it must be mentioned that the images of their “intimate moments” the actresses experienced together in the film were published in many glamour magazines of that time causing a great stir). 　　Silvio Amadio's film, not only in the formal beauty or the exploitation aspect, disguises the interest because even the structure of the psychological nature of the characters and the game played by them are described in great detail by the script written by Roberto Natale. Invisible for many years, Peccati di gioventu can be seen for the first time in home video format, in the original uncut version.

In 1968, Silvio Amadio directed L'isola delle svedesi (Island of the Swedes) (1969), the story which bordered on the dramatic and erotic genre about two lesbian women and the arrival of a third party in their menage, a young boy, which leads to tragic consequences. The script was by Roberto Natale, who had already worked with Mario Bava and who went on to write Peccati di gioventu (So Young, So Lovely, So Vicious...) for Amadio where the lesbian theme is tackled in a similar way to the previous film. 　　The female “special love” trend was a reality which was already consolidated in European cinema of this genre, following the huge success of Les biches by Claude Chabrol (1968) and Le salamandre by Alberto Cavallone (1969). This was a popular theme with the audiences and in the case of Peccati di gioventu includes the attraction represented by Gloria Guida, an actress who was rising to stardom and who owed her film debut to Silvio Amadio who discovered her and brought out the best in her more than any other director. Alongside Gloria Guida was the beautiful Dagmar Lassander, who also created a chromatic contrast (the blonde Guida, Lassander the red-head), which in the erotic scenes interpreted by them with the wild and contaminated natural landscape of Sardegna (where the film is set) as background, the fascinating vision of everything (it must be mentioned that the images of their “intimate moments” the actresses experienced together in the film were published in many glamour magazines of that time causing a great stir). 　　Silvio Amadio's film, not only in the formal beauty or the exploitation aspect, disguises the interest because even the structure of the psychological nature of the characters and the game played by them are described in great detail by the script written by Roberto Natale. Invisible for many years, Peccati di gioventu can be seen for the first time in home video format, in the original uncut version.

影片聚焦女性犯罪题材，讲述园艺师支宁在遇到中年学者寇逸后，飞蛾扑火般的情感冒险。据悉，影片目前正在赶拍，卡司尚未公开，袁泉被目击出现在片场。

Truman Capote's semi-autobiographical first novel about coming of age in the Deep South during the 1930s centers on 13-year-old Joel Sansom (David Speck), who reunites with his estranged father at the family's shabby plantation, where he must contend with his father's feisty mistress and a strange cousin. Against this less-than-ideal backdrop, Joel slowly matures into an upstanding young man.

这十几年的HIP HOP路上，经历的种种，遇到的一切，以及走到今天的位置，艾热和马俊背负了太多。他们背负着对家乡说唱文化的责任感，背负着对家人和兄弟的承诺，背负着背后的压力，背负着每一位前辈和后辈的期许。他们选择什么都不说，含着眼泪往前走。

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

男人总是无所顾忌，永远不会认输；而女人不能相信，女人笑一下就能摆平任何麻烦。两性不能融洽地相处，男人和女人是不同的物种吗？五个男人，五个女人，全世界最大规模的两性调查、秘密实验，和世界上第一种能改变大脑的药物。准备好探索两性真正的差异。本纪录片邀请了五男五女来参与一系列特别的测验。选出的测试小组尽可能包括社会各个阶层的人。志愿者知道他们在参与一个研究男女差异的节目，但是，他们不知道的是，在节目最后，有些人会完全改变对自己的认识。

暂无简介

暂无简介