一个女孩，打着学习的借口来到一个朋友家里。不知为何她的心情非常忐忑，她在朋友家看到的东西在她的脑子里有了别的意义和形象，这次拜访也在往她没有意料到的方向发展。

一个女孩，打着学习的借口来到一个朋友家里。不知为何她的心情非常忐忑，她在朋友家看到的东西在她的脑子里有了别的意义和形象，这次拜访也在往她没有意料到的方向发展。

Set in a small West Virginia mining town nestled in the foothills of Appalachia, THE EVENING HOUR tells the story of a small-time drug dealer, Cole Freeman, who is driven to action and redemption in response to a set of unexpected circumstances that threaten to tear the close-knit fabric of family, friendship, land, and history that binds everyone, and everything, he loves.

"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those of the '70s, notably North-South Triptych (1972-74), were marginalized because of their radical politics (not to mention their experimental form). Increasingly complex works in recent years continue to defy received notions of film versus photography, documentary versus fiction, and public versus private art: Amsterdam Global Village (1996), for example, is a look at the postcolonial metropolis as a post-McLuhan mosaic. It begins with a colorful St. Nicholas festival on Amsterdam's canals, and circles village and globe for more than four hours before culminating in a polysexual fantasy filmed behind an august facade overlooking the same canals."

Set in a small West Virginia mining town nestled in the foothills of Appalachia, THE EVENING HOUR tells the story of a small-time drug dealer, Cole Freeman, who is driven to action and redemption in response to a set of unexpected circumstances that threaten to tear the close-knit fabric of family, friendship, land, and history that binds everyone, and everything, he loves.

"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those of the '70s, notably North-South Triptych (1972-74), were marginalized because of their radical politics (not to mention their experimental form). Increasingly complex works in recent years continue to defy received notions of film versus photography, documentary versus fiction, and public versus private art: Amsterdam Global Village (1996), for example, is a look at the postcolonial metropolis as a post-McLuhan mosaic. It begins with a colorful St. Nicholas festival on Amsterdam's canals, and circles village and globe for more than four hours before culminating in a polysexual fantasy filmed behind an august facade overlooking the same canals."

本片荣获第43届法国克莱蒙费朗短片电影节大奖，并入围第93届奥斯卡最佳真人短片短提名名单。讲述一个加纳男孩和一个加纳女孩“意外”与一个外国成年人结识，然而相处一段时间后，两个孩子发现事情好像并非那么简单......（来自@華堅馮力士）

本片荣获第43届法国克莱蒙费朗短片电影节大奖，并入围第93届奥斯卡最佳真人短片短提名名单。讲述一个加纳男孩和一个加纳女孩“意外”与一个外国成年人结识，然而相处一段时间后，两个孩子发现事情好像并非那么简单......（来自@華堅馮力士）

When Aram, a newly out Armenian man, brings Jason back to his place after their first date, he must decide how far he's willing to go in order to make sure they both have a good night.