À travers l’évocation de la tension entre fugacité et continuité, le film déploie la dialectique de la destruction et de la métamorphose. Une extase pure et simple de l’intimité physique vue à travers des films en celluloïd, dans lesquels la vie de l’émulsion est en train de se décomposer au contact de gel hydroalcoolique, censés “tuer 99,9% des bactéries et des virus”.

Pin（由Sammy饰演）是Peeradayt和Mattana的大女儿。她父亲是一名政府官员，母亲经营着自己的珠宝生意。Non（由Thanwa饰演）是Preemsuda的长子，他母亲是Piraya父亲的秘书。Pin和Non是恋人，他们决定在西班牙举行一场简单的婚礼，悄悄结为夫妻。蜜月结束后，他们回到家，发现Pasin（由Prach饰演），也就是Panat的弟弟，和Pasika（由Stephany饰演），即Piraya的妹妹，两人相爱了。Non把一直藏在心里的秘密告诉了Pasin，Pasin和Pasika不能相爱，因为Pasika实际上是Pasin同父异母的妹妹。Premsuda很久以前就和Piradeth私下组建了一个小家庭，Pasin是Premsuda为Piradeth生的私生子，而Non是Premsuda和前夫的儿子。Pin得知真相后，因Non长期隐瞒他母亲是自己父亲情妇一事而十分生气，于是和Non分手。随后，Pasika把这件事告诉了在曼谷的母亲。Matana调查后确认了真相，因无法接受而疯了。Pasika也因无法承受家庭破碎而离家出走，下落不明。Piradeth抛弃了妻子Matana和女儿，和Premsuda在一起了。他还因为Non爱上了自己的女儿导致秘密曝光，而痛恨和讨厌Non。Non和Pasin只能抛开一切回到国外继续学业，Pin则必须照顾母亲并打理母亲的珠宝生意。

2020年8月4日，黎巴嫩贝鲁特港口发生硝酸铵大爆炸。纪录片以这场灾难为背景，聚焦逃难少女、抗争画家、丧子家庭、绝望接线员、理想主义者这五组幸存者的三年生活轨迹。以港口阴燃三年的“幽灵之火”为线索，串联起个体与集体记忆的交织。导演拒绝使用旁白与访谈，仅以跟拍、环境音与手写日记字卡构建叙事，让观众直面“活着即历史”的震撼。影片的两位导演在维也纳电影学院求学期间相识，12年前他们首次来到黎巴嫩，创作了聚焦于贝鲁特电力危机的纪录短片《没有电》，在多个电影节上获奖，获得国际关注。而这部耗费三年而成的电影本身已成一场抗争——它证明了影像能比火焰更持久地灼烧谎言。

燃烧的婚姻

燃烧的爱

The story is about an unnamed detective, hired by a beautiful, alcoholic woman, to find clues related to the disappearance of her husband. In the process, the detective is given a map (a ruined one), supposedly to help him, but which turns out in the end to be more like a metaphor of the guidelines one should have in life. The impossibility of finding relevant clues to help him solve the mystery leads the main character to an existential crisis, which builds slowly from inside and finally puts him in the position of identifying himself with the man he was supposed to find. The Man Without a Map (燃えつきた地図 Moetsukita chizu) is a 1968 Japanese film directed by Hiroshi Teshigahara and starring Shintaro Katsu. The screenplay was adapted by Kōbō Abe from his novel The Ruined Map. This was the fourth and final film collaboration between Teshigahara and Abe.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, Ivan Mozhukhin in Casanova Ivan Mozhukhin in Casanova this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

《燃烧的爱情》是一部喜剧剧集，是电视节目《单身汉》，《单身汉》和《单身汉》的网络恶作剧。根据季节的不同，表演要么跟随一个男人或一个女人，他们从一群参赛者中寻找完美伴侣，要么让参赛者一起居住在大厦中争夺现金奖。本·斯蒂勒（Ben Stiller）是执行联合制作人。

在一个美丽祥和的海岛上，有一群健康可爱的蔬菜，大家在萝卜村长的带领下，过着幸福而又快乐生活。可是神秘邪恶的基因博士在入侵了世上大部分地区后，将下一个目标瞄准了蔬菜家园，他派遣了一群变异动物去对付蔬菜们。阳光正义的小番番，善良可爱的洋葱美眉，无厘头爱恶作剧的萝卜特，脾气火爆的火辣辣，超级大吃货小胖豆……蔬菜们将使用各自神奇的技能，反抗动物们的入侵和破坏，保卫自己的家园。

Deep into Hell Week, a favored pledgee is torn between honoring his code of silence or standing up against the intensifying violence of underground hazing.