Massimo Lucantoni (Gianfranco Manfredi) is a film writer in Rome, who is having some trouble with writing his first novel, beacuse he feels too much distraction. There are noisy neighbours and his wife who has actually been seperating from him. He takes the chance to rent a luxurious poolhouse from an excentric but obviously no more so rich as they pretend to be aristocratic couple. Living in that poolhouse he meets Nastienka (Nastassja Kinski), who is waiting for her prince charming in the near of the pool. She obviously beliefs in the supernatural world, as she explains to Massimo that her lover will soon arrive on a horse to take them both to a faraway place. Nastienka also has the ability to talk to animals (at least to her own dogs). Massimo falls in love with Nastienka and tries to win her love.

It’s not uncommon for a film to have a moving love story at its core. Yet this particular set-up is unusual. The lovers here are Ingeborg Bachmann and Paul Celan, both important representatives of post-war German-language poetry. The story of the relationship between the Austrian and the Jew from Czernowitz is told through their nearly 20-year correspondence (1948–1967). Or, more precisely, by a young woman and a young man reading from their letters in a studio in Vienna’s venerable Funkhaus. You hear longing, accusations, doubts, expressions of intimacy and alienation, news of separations and lengthy silences. You sense their struggle for words. What these words trigger can be seen in the faces of those reading them out. It’s not only the text but also its effects that are being performed and occasionally discussed. The intensity of the relationship drama is generated via the fascinating language, the actors’ presence, and the camerawork and editing, which break up the dialogue via changing perspectives and shot sizes. Chats during cigarette breaks, in the stairwell and the canteen, lead into the present. History, which was stronger than love, never slips out of focus. berlinale 2016

众所周知，世界上似乎没有哪一本书能像《红楼梦》这样引起人们喋喋不休的争论，也没有哪一本书能像《红楼梦》这样引发那么多人关注和研究。究其原因，最主要的大概就是曹雪芹留下了一本不完整的书稿，这就给后人留下了巨大的话语空间，《红楼梦》就像断臂的维纳斯一样，多少人在想象着它完整的样子。那么人们是不是真的就不能窥见《红楼梦》的全貌了呢？著名作家刘心武先生通过多年对《红楼梦》的研究，他认为全本的《红楼梦》是存在过的，《红楼梦》八十回后的故事是可以探佚出来的，高鹗续写的《红楼梦》后四十回不符合曹雪芹的原笔原意。那么八十回后曹雪芹的《红楼梦》写的是什么？全本的《红楼梦》真的存在过吗？著名作家刘心武先生为您讲述《红楼梦》八十回后的真故事。 　　讲师：刘心武 　　1942年6月4日出生，中国当代著名作家、红学研究家。笔名刘浏、赵壮汉等。曾任中学教师、出版社编辑、《人民文学》主编、中国作协理事、全国青联委员，加入国际笔会中国中心。以短篇小说《班主任》成名，被视为伤痕文学代表作。其作品以关注现实为特征，长篇小说《钟鼓楼》获得茅盾文学奖。20世纪90年代后，成为《红楼梦》的积极研究者，曾在中央电视台《百家讲坛》栏目进行系列讲座，对红学在民间的普及与发展起到促进作用。

众所周知，世界上似乎没有哪一本书能像《红楼梦》这样引起人们喋喋不休的争论，也没有哪一本书能像《红楼梦》这样引发那么多人关注和研究。究其原因，最主要的大概就是曹雪芹留下了一本不完整的书稿，这就给后人留下了巨大的话语空间，《红楼梦》就像断臂的维纳斯一样，多少人在想象着它完整的样子。那么人们是不是真的就不能窥见《红楼梦》的全貌了呢？著名作家刘心武先生通过多年对《红楼梦》的研究，他认为全本的《红楼梦》是存在过的，《红楼梦》八十回后的故事是可以探佚出来的，高鹗续写的《红楼梦》后四十回不符合曹雪芹的原笔原意。那么八十回后曹雪芹的《红楼梦》写的是什么？全本的《红楼梦》真的存在过吗？著名作家刘心武先生为您讲述《红楼梦》八十回后的真故事。 　　讲师：刘心武 　　1942年6月4日出生，中国当代著名作家、红学研究家。笔名刘浏、赵壮汉等。曾任中学教师、出版社编辑、《人民文学》主编、中国作协理事、全国青联委员，加入国际笔会中国中心。以短篇小说《班主任》成名，被视为伤痕文学代表作。其作品以关注现实为特征，长篇小说《钟鼓楼》获得茅盾文学奖。20世纪90年代后，成为《红楼梦》的积极研究者，曾在中央电视台《百家讲坛》栏目进行系列讲座，对红学在民间的普及与发展起到促进作用。

人们的梦构成了梦境世界，这里由睡神掌管，他的梦沙可以给人们带来好梦。邪恶的哈布魔抢走了梦沙，想把它们变成噩梦沙来毁掉梦境世界。睡神派笨羊尼波莫克到现实世界找个勇敢的水手来对付哈布魔，尼波莫克误把想成为船长的小孩米克当成水手带回了梦境世界。在睡神的鼓励下，米克勇敢地斗败了哈布魔，拯救了梦境世界。

Constance works for an independent radio station where she broadcasts sound creations of political character. She lives with Eugene, an aspiring writer, voluntarily withdrawn from the outside world.

Constance works for an independent radio station where she broadcasts sound creations of political character. She lives with Eugene, an aspiring writer, voluntarily withdrawn from the outside world.

一场悬疑的谋杀案让三名执法人员和一名职业罪犯有了交集，在弥漫着焦躁与不安的加州里，他们每个人都必须在阴谋和背叛的谜雾中摸索。第二季由柯林·法瑞（Colin Farrell）、文斯·范恩（Vince Vaughn）、瑞秋·麦克亚当斯（Rachel McAdams），以及泰勒·克奇（Taylor Kitsch）主演，尼克·皮佐拉图（Nic Pizzolatto）继续担任创作和编剧，并由华裔导演林诣彬执导前两集。

一对同性恋人卡迪克和哈曼回乡参加堂姐的婚礼，浪漫不羁的卡迪克希望男友向家人正式出柜，结果在迎亲列车上两人天雷勾动地火的热吻被老父提前发现，差点引发一场心脏病。老父从此把卡迪克视为眼中钉，想尽办法要棒打鸳鸳，甚至给哈曼安排了包办婚姻。但想结婚似乎也没那么容易——几乎在同一时间，印度最高法院正在就同性恋是否为犯罪进行着一场世纪辩论…

讲述的是受害者林宥贞的丈夫李英勋（宋清晨 饰）与嫌疑人金俊成的妻子郑多妍（柳善 饰）在最后一场判决前隐藏着对彼此的怀疑为找出真相而携手合作的故事。