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。

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。

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。

华沙市中心的一条街道成为这部机智且充满个人色彩的波兰肖像的焦点。十年前，电影制片人阿尔君·塔尔瓦尔移居波兰，但仍然难以融入。乌利察·维尔恰街，他居住的地方，并没有真正帮助他融入。为了加快自己的融入进程，他开始拍摄他的邻居，探索与他们的关系，并寻找克服自身疏离感的方法。在他的朋友莫的帮助下，另一位从移民变成电影制片人的人，阿尔君揭开了这条街道隐藏的秘密，展现了一群迷人的居民。他发现其他像他一样的人，生活在过去与现在之间，生活在想象的故乡与现实的故乡之间。这条街道像一条无形的线将他们连接在一起，为日常生活的忧郁提供了慰藉。在这段长达一公里的街道上，现代欧洲的图景逐渐显现，揭示出一个充满矛盾和焦虑的万花筒，而这位外国电影制片人则为一个常被视为同质化、不友好和政治右翼的国家举起了一面镜子。

华沙市中心的一条街道成为这部机智且充满个人色彩的波兰肖像的焦点。十年前，电影制片人阿尔君·塔尔瓦尔移居波兰，但仍然难以融入。乌利察·维尔恰街，他居住的地方，并没有真正帮助他融入。为了加快自己的融入进程，他开始拍摄他的邻居，探索与他们的关系，并寻找克服自身疏离感的方法。在他的朋友莫的帮助下，另一位从移民变成电影制片人的人，阿尔君揭开了这条街道隐藏的秘密，展现了一群迷人的居民。他发现其他像他一样的人，生活在过去与现在之间，生活在想象的故乡与现实的故乡之间。这条街道像一条无形的线将他们连接在一起，为日常生活的忧郁提供了慰藉。在这段长达一公里的街道上，现代欧洲的图景逐渐显现，揭示出一个充满矛盾和焦虑的万花筒，而这位外国电影制片人则为一个常被视为同质化、不友好和政治右翼的国家举起了一面镜子。

智利国宝级导演米盖尔里延继纳胡尔托罗的豺狼后的又一力作 　　the despotic rule of the British mine owners, the workers stage a revolt. The government's solution is to utterly destroy the town rather than allow the rebellion to spread. Letters from Marusia was adapted from a novel by Patricio Manns, which in turn was based on eyewitness accounts of the 1907 massacre.

Yohei Yamakado has not returned to his native Japan for eight years; his friend Olivier Cheval therefore embarks on an exploration of the land of the Rising Sun, evoking his friend’s memories, almost in a re-enactement of his friend’s life by proxy. Cheval travels, moving from Tokyo to Kyoto, from Kobe to Lake Towada, and in the meantime he juggles, in an equally exploratory way, between childhood and memory, between exile and friendship, making the invisible tangible. 　　Olivier Cheval’s introspective journey rule out any touristic filter and, on the contrary, from every image and landscape tries to materialize what is not physically there. A sort of sequel to a previous correspondence between the director and Yamakado (Lettres sur la peste, La Découverte/lundi matin, 2022), it is at the same time a whispered reflection on the standardization of urbanism and architecture, which uses that border between estrangement and recognizability to take on the fascinating features of a ghost-movie.

Yohei Yamakado has not returned to his native Japan for eight years; his friend Olivier Cheval therefore embarks on an exploration of the land of the Rising Sun, evoking his friend’s memories, almost in a re-enactement of his friend’s life by proxy. Cheval travels, moving from Tokyo to Kyoto, from Kobe to Lake Towada, and in the meantime he juggles, in an equally exploratory way, between childhood and memory, between exile and friendship, making the invisible tangible. 　　Olivier Cheval’s introspective journey rule out any touristic filter and, on the contrary, from every image and landscape tries to materialize what is not physically there. A sort of sequel to a previous correspondence between the director and Yamakado (Lettres sur la peste, La Découverte/lundi matin, 2022), it is at the same time a whispered reflection on the standardization of urbanism and architecture, which uses that border between estrangement and recognizability to take on the fascinating features of a ghost-movie.