This film is a very short story about a former rescue worker returning from Tokyo – a man who is quite successful in his everyday life, and who, after hearing about another earthquake in Japan, dropped everything and went there to help. He is flying back home in an almost empty plane. Indeed, many regular flights have been canceled, and the ones that are still operated do not sell out. He is flying back with a very elderly Japanese man he had just saved – the man is now all alone in the world, his family had died. And the two men somehow clicked. Perhaps because our main character is also lonely. Also flying with them on the plane are those who are no longer here.Those who did not survive the disaster. Together with the characters, their past moves through space – their memories, their world. The world that is no less, but perhaps even more important for them than the reality.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

This experimental documentary is a compendium of striking images of Eastern Europe and its citizens in transition, following the collapse of the so-called Cold War. Places as diverse as Baltic beaches, and Moscow's snow-covered streets vie for attention along with the citizens of these places as they wait in lines, march in military formation, or stand idle in the waiting rooms of train stations. There is no narration, and no clear point (except the idea of transitions) is indicated by the beautifully chosen, enigmatic imagery. Indeed, there is not even much musical accompaniment. Fans of director Chantal Akerman's aggressively "non-commercial" work are likelier to find this film more appealing than the average viewer will.

该片以釜山影岛为背景，讲述了随着了解母亲“花子”的过去而逐渐变化的三个女儿的生活故事。

该片以釜山影岛为背景，讲述了随着了解母亲“花子”的过去而逐渐变化的三个女儿的生活故事。

這部散文電影以兩位電影工作者互通的信件作為表現形式，啓發自越南政府計劃在占婆族的信仰聖地寧順，建造國內首見的兩座核電廠，對這個可追溯至近兩千年前的古老母系印度教文化造成威脅。 　　電影結合藝術創作的方法去探究及反思風景與肖像、紀實與虛構、藝術與民族誌等戰爭和殖民主義下的產物，以及在碰觸其他文化、族群、經驗，以及歷史與過去時所存在的限制。

20年后，一位教师的《给未来的信》项目重新浮出水面，当时她的女儿发现了这些真相，这些真相将她的生活——包括她自己。

20年后，一位教师的《给未来的信》项目重新浮出水面，当时她的女儿发现了这些真相，这些真相将她的生活——包括她自己。

罗克茜（丽贝卡·罗梅恩 Rebecca Romijn 饰）个性开朗前卫，经营着一家艺术品商店、凯特（杰米·雷·纽曼 Jaime Ray Newman 饰）是五个孩子的母亲，一心一意的扮演着家庭主妇的角色、乔娜（琳赛·普莱斯 Lindsay Price 饰）是一名记者，保守的个性让她在职场上屡遭挫折。在这三个谁也不人是谁的女人之间，会发生怎样的故事呢？ 　　一次偶然中，三人在小镇的公园中偶遇了，很快，她们便成为了无话不谈的好友，一个名为戴尔瑞（保罗·格罗斯 Paul Gross 饰）的男人的出现令她们之间的关系“更上了一层楼”。而事实是，正是戴尔瑞的存在，激发了潜藏在三个女人体内的“超能力”，三名“女巫”诞生了。