We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. 　　The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. 　　This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

在捷克斯洛伐克时期的一座小镇上，瓦茨拉夫是一名受人尊重的公证人，1968年夏天，他因自己坚定的立场招来了麻烦。捷克导演贝娅塔·帕卡诺娃自编自导的第二部长片，灵感源于她祖父母的经历。影片在1968年大历史背景下展开叙事，聚焦于一对夫妻在面临道德困境时的相辅相成，以舒卷自如的长镜头展现平静之下恐惧涌动的小镇。片中不时穿插的定格照片取代传统摄影镜头，由此隐喻镌刻在生命中最强烈的历史往事。荣获2022年卡罗维发利国际电影节最佳导演奖和最佳男演员奖。

在捷克斯洛伐克时期的一座小镇上，瓦茨拉夫是一名受人尊重的公证人，1968年夏天，他因自己坚定的立场招来了麻烦。捷克导演贝娅塔·帕卡诺娃自编自导的第二部长片，灵感源于她祖父母的经历。影片在1968年大历史背景下展开叙事，聚焦于一对夫妻在面临道德困境时的相辅相成，以舒卷自如的长镜头展现平静之下恐惧涌动的小镇。片中不时穿插的定格照片取代传统摄影镜头，由此隐喻镌刻在生命中最强烈的历史往事。荣获2022年卡罗维发利国际电影节最佳导演奖和最佳男演员奖。

昔日香港，長者知得最清楚！最佳嘅掌故王，當然係喺社區土生土長嘅老友記。睇住社區變化嘅資深居民帶領，向廿幾歲嘅年輕人，大談後生仔女意想不到嘅地區老故事。鰂魚涌山邊原來曾經有吊車上栢架山？灣仔大佛口以前係日本人社區？睇落保留傳統風味嘅大澳又有幾多嘢真係無變？唔同嘅老友記，有老街坊、有導賞團義工、有歷史發燒友，帶年輕主持行街 (或坐低慢慢傾)，同觀眾一齊話當年。

How the invention of writing gave humanity a history. From hieroglyphs to emojis, an exploration of the way in which the technology of writing has shaped the world we live in.

How the invention of writing gave humanity a history. From hieroglyphs to emojis, an exploration of the way in which the technology of writing has shaped the world we live in.

說的是三個人的恐懼。嘉拉恐懼文字，女兒安娜恐懼人，雲信恐懼長大。說的也是三個愛的故事：母女之間，師生之間，男女之間。嘉拉認定祖母的死與書裏的故事有關，所以自小不肯識字；安娜不懂說話，卻懂得用一雙眼睛表白心事。母女兩個人沒有語言的世界，只飄送鳥兒悠揚的歌唱。聾啞學校教師雲信闖進來，沉默再撐不下去，男人的愛，驚醒一個害怕再在幸福邊緣徘徊的女人。他們焦灼惶惑，語言很沉重，手心在冒汗，相知的每個時刻如同遇上電擊。名家阿倫·歌爾勞憐恤的鏡頭下，愛是給小鳥的輕撫，是空氣中舞動的手，是飄上雲端的樂聲。靜觀天地的女孩，有謎樣的凝視，凝聚全片的吸力與魅力。鏡頭大部份刻意以高清拍攝，經營出一種異乎尋常的景深與空間感，為影片超現實的想像奠下基調。銀幕紅人蕭菲·德絲黛演繹驚情內心如同度身。

邵雪（陈钰琪 饰）、郑素年（林一 饰）、张祁（晏紫东 饰）等几名文物修复匠人的孩子，众人从小一同在北京的胡同里长大，经历“非典”疫情、长辈离世、古城拆迁等种种风云，结下了深厚情谊。而随着逐渐长大，众人也因个性的差异选择了截然不同的道路。邵雪受到郑素年母亲的影响，不愿为了爱情放弃未来无限的可能，选择远走他乡；郑素年继承长辈遗志，成为文物修复师，在不朽的文物中感知时间、获取力量；张祁则因为数学天赋提前保送。即使心意相通，但年轻的邵雪和郑素年依然因为各自的追求而分道扬镳。一别经年，他们再次相遇，青春年少时埋下的种子再次破土而出。