路上でウクレレを演奏しながら全国を旅するヒロ。彼が旅先で出会うさまざまなゲイたちとの交流を描くロードムービー。出会いと別れを繰り返すちょっとしんみりくるストーリーに注目。

故事讲述乌娜13岁时与雷有过一段禁忌情缘，甚至涉及到猥亵未成年少女。15年后，乌娜突然来到雷的办公室寻找答案，人到中年并已经开始新生活的雷不得不面对那段过往。

致瘦弱却勇敢的灵魂——五个来自斯威士兰的孤儿，将他们曾经遭受的创伤融合进创意的笔触，在这些孩子原创的画面里，我们看到的，是一个瘦弱却勇敢的年轻女孩，挑战未知的冒险，这是liyana的故事，也是斯威士兰孩子们的故事。

老妪娜巴特和丈夫伊斯坎德尔生活在远离村庄的偏远小屋。伊斯坎德尔曾是森林巡逻队队员，现在病重在家休养。而战争肆掠此地已久，他们的儿子也在前线牺牲了。老妪家唯一的经济来源是一头奶牛，她隔些日子会去村子里卖牛奶。战争的阴云笼罩着大地，村庄渐渐人去楼空，老妪的生活也举步维艰…… 　　《娜巴特》改编自阿塞拜疆导演Elchin Musaoglu在苏联解体时期听到的一则故事，首映于2014年威尼斯电影节地平线单元。

一位名叫Nona的奶奶原本计划计划在休息日与世隔绝，观看她最喜欢的摔跤比赛。但当她5岁的孙女Renee意外被送来时，她在自己最喜欢的两件事之间犯起了难。孙女想让她陪着玩，而平时溺爱孙女的Nona此时真的想看摔跤比赛，两人在一番对峙之后达成了爱的妥协。

故事讲述乌娜13岁时与雷有过一段禁忌情缘，甚至涉及到猥亵未成年少女。15年后，乌娜突然来到雷的办公室寻找答案，人到中年并已经开始新生活的雷不得不面对那段过往。

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

故事讲述⼀名菲律宾帮佣Wena，多年来在⾹港的⼀个中产家庭⼯作，男⼥主⼈的婚姻关系陷⼊冰点，⼩主⼈Natalie在母亲⾼压的要求下，与Wena的关系更为亲密，反遭⼥主⼈误会其挑拨离间； 另⼀⽅⾯，Wena遭受远在故乡的丈夫背叛，丈夫⼀⼼求财，竟以⼥⼉的前途作威胁，她与⼥⼉的命运究竟何去何从……

Le destin d'Ariane : Engagé comme régisseur sur le tournage du film "L'affaire Dominici", Pierre-Jean de San Bartolomé monte à Paris. C'est là qu'il rencontre Isabelle Adjani pour laquelle il écrit un scénario. 　　Alors à la recherche de moyen d'expression audiovisuel peu onéreux, il choisit l'utilisation du film Super 8. Il tourne ainsi sur ce support les images, sur triple écran, d'un spectacle de ballet pour la Compagnie Anne Béranger qui sera projeté à l'Espace Cardin en mai 1973. 　　En 1974, San Bartolomé entreprend le tournage d'"Ariane", considéré film d'art et essai, avec une poignée de comédiens et amis dont Isabelle Adjani. Le montage à peine terminé, la projection simultanée sur triple écran doit être abandonnée faute d’appareils adéquats qui ne verront jamais le jour. Le film remonté pour écran unique, trop long malgré de nombreuses coupures, perd une partie de son intérêt. Il crée néanmoins l’événement au Premier Festival International du Super 8 à l’Espace Pierre Cardin en décembre 1974. 　　"Ariane" sera ensuite présenté dans une nouvelle version de 120mn "gonflée" en 16mm au Festival de Cannes de 1977 dans la sélection "perspectives du cinéma français" avant d'être remonté et recoupé, à l'initiative de la coproductrice du film, avec surimpressions grotesques de cristaux et sous le titre aberrant de "Espace Zéro", sans l’accord du réalisateur. 　　Avec l’appui d’Isabelle Adjani, de Jean Pierre Stora, compositeur de la musique du film et de Maitre Pierre Hébey, San Bartolomé fait interdire la diffusion et l’exploitation d’une œuvre totalement dénaturée. 　　Ce quatrième film d'Isabelle Adjani reste inédit à ce jour.

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses