Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

Sobre las nubes (About the Clouds), the portrait of a city and a contemporary saga of a middle class viewed through its relationship with work, depicts the everyday lives of four people with an artistry that’s abundant yet sober, generous yet precise. The dramatisation, stripped of any effects, is entirely devoted to the attention it pays to the characters. Ramiro, Nora, Hernán and Lucía don’t know each other. The only thing they have in common is that they work or are looking for work, and they live in the same city. They never meet, but all of them cross paths with the young woman with aquiline features, a musical presence who discreetly harmonises the film, accompanying it with her gentle melodies. María Aparicio, observing in the background, leaves these solitary presences to develop in parallel. Without ever raising its voice, the film unfolds with restraint and moderation, focusing on humility. When, in the dead of night, a female police officer asks a cross-dressing singer to go and sing elsewhere as he lip-synchs Maria Callas’ rendition of Tacea la notte placida (How Peaceful was the Night), all the sadness of a world reduced to silence is encapsulated in a sequence of rare beauty. In this melancholic black and white painting, the poetics of the image elevate the everyday to the unusual, the gloom to sweet fantasy, in discrete epiphanies like those magic tricks performed with mischief or the savvy pleasure taken in reciting a theatrical script. “I was sad, but I’m better” says one of the characters at the end of the film. Just as the clouds over the city come and go, caught up in the infinite movement of time, the characters’ sadness eventually subsides and seems to disappear to “that place that no one has ever visited, that place we call the past”, in the words of Juan José Saer (Las Nubes). 　　源自：https://fidmarseille.org/en/film/sobre-las-nubes-about-the-clouds/

相会(1984) - 故事梗概 　　深冬的一个黄昏，一辆黑色轿车由兰江市市政府驶出。坐在里面的市长方克寒正在考虑着如何改变本市工业长期亏损的局面，他紧锁双眉，心情十分沉重。回到家中，方克寒要求妻子市人事局长王洁音马上去省里，在大学毕业生分配会上多要些专业人材。王洁音劝说方克寒，不可操之过急，因为这涉及现行的人事制度。王洁音从省里开会回来，得知方克寒已登报招贤，她担心自己的丈夫将成为出头的椽子。然而，妻子的劝告与阻拦并未动摇方克寒立志改革的决心。伴随着招贤榜的公布，一大批科技人员踊跃应试，但也有一部分人借机营私舞弊，为改革设置障碍。市电讯设备厂连年亏损，严重地拖了全市工业的后腿。方克寒决心以这个厂做为改革重点。在该厂老工人李师傅的举荐下，经过考试，方克寒大胆启用了成绩全优的冯志才，任命他为电讯设备厂的工程师。冯志才上任后，在厂的中层干部会上，把自己的打算和盘端出，不料却遭到了大多数人的反对和攻击。厂长马兴又借口开总支会议，逼得冯志才离开会场。冯志才感到自己的抱负难以施展，便不辞而别。方克寒得知这一情况后心情十分沉重。女儿王小星回到家中，正为与男友赵梦奇成功地译完了资料而高兴异常，便拉着爸爸跳舞，情绪极差的方克寒打了她一记耳光。一气之下王小星离家出走。女儿走后，方克寒发现了女儿的译稿，才知自己错打了女儿，忙去老战友马兴家找回女儿，并要求马兴把冯志才请回工厂，马兴不肯。方克寒只好亲自去请，并任命冯志才为电讯设备厂厂长。这一决定激怒了马兴。方克寒耐心开导马兴，使他终于有了可喜的转变，并表示一定与冯志才积极配合，搞好工作。在马兴的积极配合下，冯志才终于打开了电讯设备厂的局面，使产品质量大大提高。为解决厂内的污染问题，方克寒决心把应聘而来的赵梦君派到他们工厂任环保工程师。赵梦君是冯志才20年前大学时代的恋人，由于政治原因，志才被勒令退学，从此二人天各一方，历尽人间辛酸。现在，这一对恋人重新相会，心有千言万语，难以言表。电讯设备厂的产品在省里的产品订货会上被评选为优质产品。在庆祝这一喜讯时，冯志才和赵梦君也终于迎来了他们的迟到婚礼。兰江市的局面终于打开，方克寒又接到省里的调令，前去接受新的任务。

全京城皆知顾丞相之子顾云峥将迎娶沈家独女沈凝。然而，云国规定女子年满二十未嫁，官府将为其指配婚约，甚至可能嫁猪嫁狗。眼看沈凝即将年满二十，顾云峥却宣布要纳沈凝收留的孤女为贵妾，且地位高于沈凝。沈凝心痛不已，决定取消婚约，另嫁他人。顾云峥不信，仍与那孤女亲密往来。沈凝心灰意冷，远嫁江南富商。顾云峥得知后，不顾即将举行的婚礼，追至沈凝家中，却为时已晚。

C.J.和塞巴斯丁这对高中挚友是布鲁克林区的科学小天才，他们只要一有空就全心投入他们最新的发明：可以带人穿越时空的背包。当C.J.的哥哥凯文意外被警员射杀，C.J.和塞巴斯丁决定孤注一掷，利用他们尚未完成的背包回到过去，希望能拯救凯文。 《相会在昨天》由史蒂芬·布里斯托执导 ，并由史派克·李监制。如果时光可以重来？如果结局可以不一样？这出科幻冒险片试着回答这些人人都想知道的问题，同时也探讨至亲之爱和文化隔阂等议题。

C.J.和塞巴斯丁这对高中挚友是布鲁克林区的科学小天才，他们只要一有空就全心投入他们最新的发明：可以带人穿越时空的背包。当C.J.的哥哥凯文意外被警员射杀，C.J.和塞巴斯丁决定孤注一掷，利用他们尚未完成的背包回到过去，希望能拯救凯文。 《相会在昨天》由史蒂芬·布里斯托执导 ，并由史派克·李监制。如果时光可以重来？如果结局可以不一样？这出科幻冒险片试着回答这些人人都想知道的问题，同时也探讨至亲之爱和文化隔阂等议题。

长久以来，人类一直偏安于宇宙的一角，还自认为是宇宙中仅有的文明。直到某一天，人类迎来了首个外星文明…… 2131 年，人类的活动范围已遍布整个太阳系，此时一艘巨大的不明飞行物闯入。科学家用印度神话人物“罗摩”为其命名，经过观测，科学家发现罗摩实际上是一个空心圆柱体，随后派遣一艘飞船去与它会合。而人类尚未意识到，他们所探索的这个文明远超自身的认知。

一直以来，人类偏安于宇宙一角，自以为是宇宙仅有的文明。直到有一天，人类迎来了第一个外星文明…… 2131年，人类的活动遍布整个太阳系，一艘庞大的不明飞行物闯了进来。科学家以印度神话人物“罗摩”为它命名，在经过观测之后，科学家发现罗摩其实是一个空心圆柱体，于是派遣一艘飞船与它相会。人类还不知道的，他们探索的文明远远超过了自己的认知。