90年代初的波兰，正待迎接共产政权垮台后的崭新未来，年龄光谱横跨数十载的四名女子，也即将遭逢人生的剧变。受困于乏味婚姻生活的主妇，意外爱上教会的神父；严谨干练的小学校长，于一段不伦恋情中饱受煎熬；年轻美丽的舞蹈教练，不愿继续在远距离恋爱中寂寞枯萎；年过半百的文学老师，为教育奉献一生却突然失去了工作。她们的难题各异，命运却紧紧相连。 　　本片承袭安德烈·华依达、古兹托夫·奇士劳斯基等波兰电影大师衣钵，拥有近似《修女艾达》精致又强烈的影像风格，青年导演托马斯·瓦希勒夫斯基精准掌握内敛镜头和冷冽色调，将四名女性的生命悲剧完美融合，延续波兰制造的优异特质，融汇历史遗绪、社会动荡与宗教反思，反映在极富戏剧性的个人故事中，于2016年第66届柏林电影节力夺最佳剧本银熊奖。

90年代初的波兰，正待迎接共产政权垮台后的崭新未来，年龄光谱横跨数十载的四名女子，也即将遭逢人生的剧变。受困于乏味婚姻生活的主妇，意外爱上教会的神父；严谨干练的小学校长，于一段不伦恋情中饱受煎熬；年轻美丽的舞蹈教练，不愿继续在远距离恋爱中寂寞枯萎；年过半百的文学老师，为教育奉献一生却突然失去了工作。她们的难题各异，命运却紧紧相连。 　　本片承袭安德烈·华依达、古兹托夫·奇士劳斯基等波兰电影大师衣钵，拥有近似《修女艾达》精致又强烈的影像风格，青年导演托马斯·瓦希勒夫斯基精准掌握内敛镜头和冷冽色调，将四名女性的生命悲剧完美融合，延续波兰制造的优异特质，融汇历史遗绪、社会动荡与宗教反思，反映在极富戏剧性的个人故事中，于2016年第66届柏林电影节力夺最佳剧本银熊奖。

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

1975 年，詹姆斯·班宁和贝蒂·戈登驾车从东向西穿越美国，从纽约前往洛杉矶。他们于汽车后座上安装摄像机，透过挡风玻璃拍摄路过的地貌，用一系列简短的实时视频记录了这一过程，而这便成了他们合作拍摄的电影《美利坚合众国》。广播新闻、广告或流行音乐是他们公路旅行的背景音乐，而多样的风景逐渐从他们面向前方的镜头中掠过。 　　这是一部 70 年代电影的真正杰作，而如今比以往任何时候都更加引人注目。一部概念性的两百周年电影，讲述了两个旅行者、他们的汽车以及从纽约到洛杉矶的地理、政治和社会变化之间的空间和时间关系。每一帧中的空间既连续又省略。

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

1975 年，詹姆斯·班宁和贝蒂·戈登驾车从东向西穿越美国，从纽约前往洛杉矶。他们于汽车后座上安装摄像机，透过挡风玻璃拍摄路过的地貌，用一系列简短的实时视频记录了这一过程，而这便成了他们合作拍摄的电影《美利坚合众国》。广播新闻、广告或流行音乐是他们公路旅行的背景音乐，而多样的风景逐渐从他们面向前方的镜头中掠过。 　　这是一部 70 年代电影的真正杰作，而如今比以往任何时候都更加引人注目。一部概念性的两百周年电影，讲述了两个旅行者、他们的汽车以及从纽约到洛杉矶的地理、政治和社会变化之间的空间和时间关系。每一帧中的空间既连续又省略。

An archival documentary about the U.S. Army's response to the riots of the late 1960s: take a military base, build a mock inner-city set, casts soldiers to play rioters, burn the place down, and film it all.

根据1970年真实事件改编。当时因为加拿大魁北克的独立分子经常制造舆论，致使官方出动大批警察逮捕可疑分子。当地政府请求国会发布戒严令。于是，警察和部队逮捕了一次集会中的近450人，把他们都投进监狱，却没有指控任何犯罪行为。他们在狱中饱受精神以及肉体的折磨。这种毫无任何理由的关押让人们感到震惊。

导演黄鸡与好友阿狗在日本新宿进行一场大胆实验，计划以拍摄纪录片的形式拍摄一部剧情片。因黄鸡盗取了黑帮大佬威廉的全自动手枪，二人遭职业杀手紧迫追杀。逃亡之际，又意外结识十七岁的神秘离家少女舞子和爱美，四人结伴逃往黄鸡的剧本世界。 　　夜幕燃尽，电影的第四面墙亦渐渐崩解，在东京这座严格执行垃圾分类的钢筋城市中，这些被遗弃的如垃圾般的电影角色，能逃脱终被回收的残酷宿命吗？