失业的编剧生活窘迫，为了父母给的100美元津贴，她和家人一起去度假，就此卷进了一系列家庭冲突之中。本片是加拿大导演路易斯·代·德菲利皮斯自编自导的长片处女作，敏锐细腻地表现代际冲突和亲人之间愉悦温暖的日常。爆炸脾气的母亲和松弛的父亲是熟悉的家庭场景，主角以超脱剧情中心的方式，融入在了家庭之中。荣获2022年圣塞巴斯蒂安国际电影节塞巴斯蒂安奖最佳影片奖、2023年鹿特丹国际电影节青年评审奖。

一位年轻的诗人送女友到她父母家，并对她家的规模感到惊讶。他偶遇了她的父亲，见到了她的母亲和姐姐，最后他们在谈话、美食和美酒中一起度过了充实的一天。

Deepak and Anasuya are an estranged couple, now leading separate lives in Cuttack and Bombay. They meet again after 18 months of separation, at a small fishing village where they had once honeymooned.

江城地产大亨顾乔为未婚夫周煜辰留了婚房别墅，他却背地里将钥匙送给白佳柔讨好对方。次日，顾乔带父亲看房时与白佳柔一家相遇。白佳柔误认顾乔是被包养的，极尽羞辱，甚至气病了顾教授。原来，周煜辰嫌顾乔是“守财奴”不肯在房产证上加名，便假借自己买房的名义，把这套庄园别墅当作聘礼送给白佳柔，还答应了她全家入住的要求。直到双方在主楼再次碰面，真相大白——顾乔不仅不是小三，反而是这座云澜庄园的真正主人，更是周煜辰明媒正娶的妻子！而自作聪明的白佳柔，这才发现自己才是那个见不得光的第三者，当场傻眼。

A webcam dialogue between Berlin and Isfahan: Faraz Fesharaki documents conversations with his family over 10 years. This debut film blends recordings, text and VHS memories into a warm, melancholy intergenerational portrait. Intimacy is also work.

2020年3月28日「不要不急の外出を控えて」と都知事は言い、予定していた撮影は中止になった。その翌日季節外れの雪は降り、数日で跡形もなくなった。2年前に眠りについた母はまだ夢から覚めることはない。隣の中国人は今夜も夢を見て叫んでいる。部屋が宇宙の中心となり、一緒に住んでいる彼女とは喧嘩が増えた。わたしはカメラをまわして聞こえてくる音に耳をすませた。遠いあなたと、近いあなたが発した言葉。あなたはそこでなんて言ったの。

云澜庄园落成，地产大亨顾乔出席剪彩，预留一处别墅当作和未婚夫周煜辰的婚房。周煜辰假意心疼顾乔，哄走别墅钥匙，背地里却盘算双重婚姻。他谎称房子是自己购置，以此讨好情人白佳柔，还轻易许诺将房产写上她的名字。次日顾乔陪父亲看房，父亲本就不看好周煜辰。两方人马意外碰面，白佳柔误认顾乔是第三者，当众出言羞辱，还惹怒了顾乔父亲。直到顾乔亮出自己的身份，白佳柔才幡然醒悟，自己反倒成了插足他人婚姻的第三者。

Double-Blind is a conceptual video work originally released in Europe as a feature film. In this voyeuristic examination of intimacy and identity, French conceptual artist Sophie Calle is joined by her collaborator and partner, Gregory Shephard. Armed with camcorders while cruising west across the United States in Shephard’s Cadillac, they produced and documented a real-life narrative of their journey — and their relationship. In this unconventional coast-to-coast road movie, America is the backdrop for Calle and Shephard’s strikingly different versions of their experiences. The protagonists chronicle a landscape of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is subtly lured into reviewing the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout this personal exploration Calle seeks to redefine the terms and parameters of subject/object, public/private, truth/fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. Double-Blind by Sophie Calle and Gregory Shephard 1992, 75:58 min, color, sound In her premiere video project, French conceptual artist Sophie Calle joins with Gregory Shephard to create a voyeuristic tour de force. Armed with camcorders, Calle and her collaborator/partner Shephard head West in his Cadillac convertible to produce and document a real-life narrative of their journey and their relationship. With America as the backdrop for this unconventional coast-to-coast road movie, Calle and Shephard each narrates and records a personal diary, presenting strikingly different versions of the narrative/relationship. Aiming their dueling camcorders, the protagonists chronicle the elusive landscapes of human relations, wrestling to reconcile self, sexuality, and desire. The viewer is challenged to reconsider the subjective and cultural roles imposed by gender, sexuality, power, and tradition. Throughout, Calle seeks to redefine through personal investigation the terms and parameters of subject/object, public/private, truth, fiction, and role-playing. The quasi-documentary style evokes the films of Chris Marker, to whom Double-Blind is dedicated. 索菲·卡莱(Sophie Calle)1953年生于法国巴黎，现仍在巴黎居住。 索菲·卡莱的早期作品采用了寄生的方法，试图以此来溶解生活与艺术、隐私与公开、窥视与参与、暴露与隐秘、幻想与现实的关系。1979年，她用照相机和文字记录了她邀请的45个人8个小时内在她的床上轮流睡觉的情景。索菲·卡莱的作品通常像一个调查或抽样调查的结果。但它也可以看作是进行的试验、纪录片或是经过艺术加工的自传。她称自己为“纪实艺术家”，她经常暗中跟踪陌生人，监视她们，询问她们，让她们无意识地加入到她的游戏与故事中，如 1980年创作的“布朗克斯（Le Bronx）”、“威尼托的人（Suite venetienne）”、“自传（Autobiographies）”。1981年创作的“旅馆（Hotel）”、1983年创作的“证件（Le Carnet）”、1984年创作的“阿纳托里（Anatoli）”、1986年创作的“盲人（Les Aveugles）”、1990年创作的“坟墓（Les Tombes）”和1991年创作的“色盲（Color Blind）”。为了产生一种富有诗意的朦胧的效果，她像侦探似的以女招待和脱衣舞女的身份出现。通过暴露自己和他人的生活，创造一种幻想与事实、臆造与现实、想象与观察相互渗透的场面。在1996年创作的“清除（Die Entfernung-The Detachment）”中，她提供给我们一种重新收集回忆的过程，并将它视为艺术创作的形式。在原东柏林期间，卡莱曾经将许多社会主义的纪念性建筑物拍摄下来，柏林墙推倒之后，这些纪念物也相继被毁。此后，卡莱又重返故地，采访了曾经与这些建筑为邻的居民，记录下他们对往事的回忆与感想。在展览上，卡莱将照片与采访的录音并置，主观与客观相互补充，产生了非常好的效果。

武颂承梁王恩情，与梁山大小姐梁婵定下婚约，立誓守寨三年，力拒朝廷百万大军。然而，未婚妻梁婵面对旧识高伦的蛊惑，踏入朝廷诏安圈套，一意孤行签订诏安书。梁山陷落前夕，风雪夜，守护梁山三年期满的武颂决然断发下山。

78年柏林电影节最佳影片金熊奖和OCIC奖，实际上那届为庆祝西班牙电影经过独裁后重新回归欧洲舞台，主委会把所有参展的西班牙片都颁发了金熊奖。 Las Palabras de Max ("The Words of Max", sometimes translated as "What Max Said") is a 1978 Spanish film directed by Emilio Martínez Lázaro. It tells the story of a man who feels disconnected from people around him. Emilio Martínez-Lázaro (born 1945) is a Spanish film director famous for such films as The Other Side of the Bed and His Master's Voice. Spanish filmmaker Emilio Martínez-Lázaro's first association with cinema came when he joined the Escuela de Argüelles, a group of independent filmmakers. He made his first short film, Circunstancias del Milagro/The Circumstances of the Miracle, in 1968; re-edited in 1972 and retitled El Camino del Cielo/The Road to Heaven, it was shown at several international film festivals. He made his first feature, Pastel de Sangre/Blood Cake, in 1971. Martínez-Lázaro entered the television industry in 1974, directing episodes of numerous television series, and since then has continued to work in both venues. Martínez-Lázaro's 1978 film Las Palabras de Max/What Max Said shared a Golden Bear at that year's Berlin Film Festival with García Sánchez's La Trucha/The Trout. In addition to directing, Martínez-Lázaro has established himself as a noted screenwriter.