《人，空间，时间和人》讲述了一艘老军舰上不同年龄和职业的人之间发生的故事， 强奸，谋杀，兵变， 金基德没有给予片中的人物丝毫的放松时间。 电影中的所有人物既没有名字也没有背景，唯一重要的只有让人喘不过气来的“当下”。在一个戏剧性的人际关系的漩涡之中，一场关于食物和生存的斗争完全转向了荒诞。

剩下的是什么？生命留下痕迹，时间的流逝也留下痕迹。托马斯·海斯（ThomasHeise）的海德主义者伊恩·劳姆·奥斯·泽特（EinRaum ausZeit）研究了一个人与另一个人的关系。他利用自己的个人档案中的文件——信件、照片、学校论文、日记条目——由海斯自己用画外音朗读并在屏幕上展示，从而追溯出他在维也纳、德累斯顿和（东）柏林四代家庭的故事。我们看到了信件中提到的地方和风景的黑白图像，它们现在的样子带有时间的标记：泽尔斯特的劳工营，前国家人民军兵营，大学礼堂，美因茨的梯田房屋。土、土堆、露天地层、火车站、火车站和铁轨也屡屡出现裂缝。首先是爱，父亲，母亲，儿子和兄弟，维也纳犹太人被驱逐出境，德累斯顿战死，艺术和文学，东德社会主义和保持体面——海斯用个人经验的碎片，精心挑选和拼凑的差距，讲述了德国在2零世纪。一部伟大的电影，一部仍将继续。 　　What remains? Lives leave behind traces; so does the passage of time. Thomas Heise’s Heimat ist ein Raum aus Zeit examines how the one relates to the other. Using documents from his personal archive – letters, photographs, school essays, diary entries – read by Heise himself in voiceover and shown on screen, he traces out the story of four generations of his family in Vienna, Dresden and (East) Berlin. We see black and white images of the places and landscapes mentioned in the correspondence as they look today, which bear the marks of time: the labour camp in Zerbst, the former National People’s Army barracks, a university auditorium, terraced houses in Mainz. There are also cracks in the earth, mounds, open strata and railway stations, trains and tracks again and again. First loves, fathers, mothers, sons and brothers, the deportation of the Viennese Jews, war dead in Dresden, art and literature, East German socialism and staying respectable – using fragments from the repository of personal experience, meticulously chosen and pieced together with gaps, Heise tells nothing less than the story of Germany in the 20th century. A great film, and one that will remain.

在一位哲学教授激昂描述的过程中，Bill Viola的作品和那些关于时间的飘渺概念似乎突然变得可以被把握了。

"Space" 　　Amy is trying to get the Doctor's attention while he fixes the TARDIS. She discovers that Rory is helping the Doctor by installing thermal couplings underneath the glass floor of the TARDIS. Rory and Amy then start a small argument, when the TARDIS suddenly shakes and the lights go out. The Doctor asks Rory if he dropped a thermal coupling, which Rory admits to and apologizes for doing. Amy then apologizes as well, and, at the Doctor's confusion, explains that Rory was looking up her skirt through the glass floor when he dropped the thermal coupling. The Doctor then notes that they have landed through "emergency materialization" which should have landed the TARDIS in the safest space available. The lights come on, revealing another TARDIS inside the control room - the TARDIS has materialized inside itself. The Doctor experimentally walks through the door of the TARDIS inside the control room and instantly walks back into the control room through the door of the outer TARDIS. The Doctor tells Rory and Amy that they are trapped in a "space loop" and that nothing can enter or exit the TARDIS ever again. Despite the Doctor's words, another Amy enters through the TARDIS outer door saying "Okay kids, this is where it gets complicated." 　　"Time" 　　Continuing from the ending of "Space", the other Amy reveals that she is from a few moments in the future, and is able to come into the current outer TARDIS because "the exterior shell of the TARDIS has drifted forwards in time". The other Amy knows what to say and do because, from her perspective, she is repeating what she heard herself say earlier on. The Doctor sends the current Amy into the TARDIS within the current TARDIS, in order to "maintain the timeline". The two Amys take a moment to flirt with each other before the current one departs, much to the Doctor's exasperation. However, not long after the current Amy has left, Rory and Amy enter through the door of outer TARDIS, explaining that the Doctor, from their perspective, just sent them into the inner TARDIS. The current Doctor promptly sends the current Rory and now-current Amy through the inner TARDIS. The Doctor then explains that he will set up a "controlled temporal implosion" in order to "reset the TARDIS", but in order to do so he must know which lever to use on the control panel. Moments after he speaks, another Doctor enters though the outer TARDIS door and tells him to use "the wibbly lever", which he quickly operates, then steps into the inner TARDIS to tell his past self which lever to use. The inner TARDIS dematerialises while the outer TARDIS (being the same TARDIS) does the same, and the Doctor assures Amy and Rory that they are now back in "normal flight", and then advises Amy to "put some trousers on."

这是一部关于印度女性新闻从业者的纪录片。在这个男性主导的领域，诞生了印度唯一一份由达利特女性经营的报纸。首席记者梅拉和报社的其他女性同事一起，以智能手机为武器，在性别不公的前线与传统思想进行抗争，向世人证明女性能冲破家庭的束缚，通过工作展现出女性独有的力量。

这是一部关于印度女性新闻从业者的纪录片。在这个男性主导的领域，诞生了印度唯一一份由达利特女性经营的报纸。首席记者梅拉和报社的其他女性同事一起，以智能手机为武器，在性别不公的前线与传统思想进行抗争，向世人证明女性能冲破家庭的束缚，通过工作展现出女性独有的力量。

29岁的助理编辑爱丽丝同时也是一位有抱负的作家，她冰雪聪明，机智幽默同时也带着叛逆色彩。在一家著名的出版公司里，孜孜不倦的述写自己的故事，爱丽丝努力想置身于公司高点，然而却总被和Milan——父亲最好的朋友——之间的青涩关系而钳固不前。15年后，Milan和爱丽丝再度相遇，从而长期以来不为人知的故事也拉起神秘面纱。导演Marya Cohn将爱丽丝成年和少年的两个场景巧妙交织在一起，探索出过去事实对年轻女人的现在的影响。

这部历时五年拍摄的纪录片，记录了一个阿富汗家庭的故事，更确切地说，是讲述了主人公——我的母亲哈瓦的故事。13岁那年，父母为她安排了一门包办婚姻，嫁给了比她大31岁的穆萨。哈瓦对穆萨没有爱情，却还是和他生了六个孩子。2019年，我的父亲穆萨被诊断出患有阿尔茨海默病。哈瓦意识到这是她重新开始，成为一个独立女性的最后机会。 　　哈瓦从未失去学习和体验生活的渴望。她从诗歌、音乐和书籍中汲取灵感，请求孩子们教她读书写字。她还开办了一家小型传统纺织品手工艺品店。如今53岁的哈瓦，也开始注重打扮，化妆打扮，让自己焕然一新。她把孙女扎赫拉带到喀布尔，以免她被迫嫁给别人。 2019年，我拿起相机记录母亲的转变，此后便从未停止过拍摄。然而，突如其来的变故给哈瓦和我的家庭带来了新的挑战。