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”.

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”.

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。

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。

燃烧的爱

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。

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.

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.

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.