艺术家兼导演克里欧·巴纳德使用经典纪录片的技术，记录下陷入困境的英国剧作家安德烈邓巴与她的女儿间动荡关系的真实故事，同时揭开一个黑暗的家庭的过去。 　　In 1977, when Andrea Dunbar was 15, she started work on The Arbor, a play based on her life in a rundown neighborhood of Bradford, in the north of England. Three years later, the play enjoyed a successful run in London. Dunbar became famous and wrote several other plays about similar themes—sexual abuse, teen pregnancy, drug addiction, violence—but then died suddenly of a cerebral hemorrhage in 1990. 　　Director and artist Clio Barnard spent two years making sound recordings of the people from Dunbar’s circle. Instead of using the material as an inspiration for a conventional documentary, she had actors lip-synch to the audio. Every sigh, gasp, and pause in the voices get articulated impeccably by the actors. She interweaves this with scenes from The Arbor that are acted out in Dunbar’s neighborhood. 　　Through the confrontation of documentary and fiction, Barnard shows that documentary is always a construction. It is the perfect medium for Dunbar’s semi-autobiographical texts, in which the boundary between fiction and reality is truly a gray area. 　　源自：https://www.idfa.nl/en/film/cc4c5d73-4e06-45e9-a190-5ac2d71f4fad/the-arbor

我曾处理过一起堪称撕裂人性底线的案件。一个女孩在家独自分娩，最后难产大出血没了。这事发生在一个特别落后的小村庄里。事情过后，接手抢救的医院立马就把案子上报了。因为不管这女孩肚子里的胎儿是谁的这人都已经犯了法了。可越往下查我们月心惊这事的真相比我们想象的还要毁三观。

本美术片是系列木偶剧《阿凡提的故事》的第一集。 　　热日当空，为生计疲于奔命的穷人在一棵大树下稍作歇息，贪财的财主巴依看到，和老婆稍作合计，想出发财妙招：他称树荫属于他，穷人要想乘凉，必须拿钱来买。穷人纷纷摇头表示没有银子时，巴依和老婆动手欲将他们手中赖以活命的羊奶等物抢去占为己有。纷扰中，倒骑毛驴的阿凡提来到树荫下，巴依自然也要他快掏银子，阿凡提不慌不忙，表示欲买树荫，巴依和老婆以为阿凡提是傻瓜，狮子大张口要了他一袋钱。众人起初不解阿凡提意图，慢慢明白他是以其人之道还治其人之身。

本美术片是系列木偶剧《阿凡提的故事》的第一集。 　　热日当空，为生计疲于奔命的穷人在一棵大树下稍作歇息，贪财的财主巴依看到，和老婆稍作合计，想出发财妙招：他称树荫属于他，穷人要想乘凉，必须拿钱来买。穷人纷纷摇头表示没有银子时，巴依和老婆动手欲将他们手中赖以活命的羊奶等物抢去占为己有。纷扰中，倒骑毛驴的阿凡提来到树荫下，巴依自然也要他快掏银子，阿凡提不慌不忙，表示欲买树荫，巴依和老婆以为阿凡提是傻瓜，狮子大张口要了他一袋钱。众人起初不解阿凡提意图，慢慢明白他是以其人之道还治其人之身。