康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. 　　One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. 　　Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.

While working on a film called Cinematic Letters, IFFR stalwart Peter Schreiner was diagnosed with cancer. Although the project was terminated for being logistically too demanding, his desire to make a new film remained. But what can you do when your beloved camera and tripod have become too heavy for you to carry, and setting up even a simple scene is an exhausting ordeal? 　　Tage is not a memoir of Schreiner's battle with his illness – this is merely hinted at, almost obliquely. Schreiner considered his ailing body above all an artistic challenge: What is possible, what can be developed from the set of options and perspectives such a state of being offers? Curiously enough, Tage turned into a variation of his last finished film, Garten (2019): a chamber piece shot almost exclusively in his house, featuring himself and his beloved wife Maria as well as some friends. It is also a return to a cinema of intimacy that he'd last essayed with Kinderfilm (1985). With all of that, Schreiner strove for and reached yet another level of artistic freedom with Tage, for none of his works to date are as light-footed in their movement: pure stream-of-conscious in a diaristic framework – a film as open as Schreiner's restlessly searching soul and endlessly curious heart. 　　源自：https://iffr.com/en/iffr/2023/films/tage

南の島からカップラーメンの容器に乗ってやってきた小さな神様・カミタマン。彼は小学生・根本シンスケと知り合い、シンスケにネモトマンに変身する能力を与える。かくて展開する、カミタマンとネモトマンの起こす数々の珍騒動……。 　　不思議コメディーシリーズ第５弾。本作品では、ヒーロー番組の元祖ともいえる東映がヒーロー番組のパロディに挑戦することとなり、ファンを喜ばせた。さっそうと立つネモトマンをバックに間抜けな歌声が流れる名ＥＤ、「スーパーヒーローになりたいな」が忘れがたい。本作品でも神様を佃煮にしようとする佃煮博士や、とらばる聖子など浦沢義雄脚本的な人物が続出する。また、途中から加わったモスラのパロディ的キャラクター・モスガの吹き替えを声優・矢尾一樹が好演していた。

南の島からカップラーメンの容器に乗ってやってきた小さな神様・カミタマン。彼は小学生・根本シンスケと知り合い、シンスケにネモトマンに変身する能力を与える。かくて展開する、カミタマンとネモトマンの起こす数々の珍騒動……。 　　不思議コメディーシリーズ第５弾。本作品では、ヒーロー番組の元祖ともいえる東映がヒーロー番組のパロディに挑戦することとなり、ファンを喜ばせた。さっそうと立つネモトマンをバックに間抜けな歌声が流れる名ＥＤ、「スーパーヒーローになりたいな」が忘れがたい。本作品でも神様を佃煮にしようとする佃煮博士や、とらばる聖子など浦沢義雄脚本的な人物が続出する。また、途中から加わったモスラのパロディ的キャラクター・モスガの吹き替えを声優・矢尾一樹が好演していた。

Using found footage from the early 70s porn films, Michael Brynntrup creates a humorous and titillating moving collage of mediated erotic imagery - one that keeps promising the viewer always anticipated cum shot, as well as asking the question, "How 'graphic' does an image have to be before it comes pornographic?"»All You Can Eat« by Michael Brynntrup takes the 'cum-shot' to new heights with a montage of some of the wildest, orgasmic, facial expressions ever composed to a mellow, easy listening sound track.