“我们的记忆中充满了不同的味道。让我们回到第一次见面的那一天，好吗？”对于两位女孩来说，这是一次新鲜的冒险。她们决定深入记忆，寻找那些气味。通过照片、音乐和对话在这个时长两分钟的混合了图片与影像的风格之作中讲述她们的爱情故事。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

90年代當紅搖滾樂團「她好樣的」主唱貝琪，每次開唱粉絲都把體育館塞爆。她瘋狂、熱情，卻又有著無法掌控的自我毀滅特質。隨著樂團名氣起起伏伏，貝琪與團員、母親、男友和女兒之間的距離也忽遠忽近。她要帶領樂團走向成功，得先設法馴服自己躁動不安的靈魂。

故事发生在1965年的斯德哥尔摩，一场舞会上，年轻的少校尼尔斯（萨穆埃尔·弗洛勒 Samuel Fröler 饰）邂逅了名叫安娜（特赖恩·帕里森 Trine Pallesen 饰）的女子，两人之间燃起了熊熊的爱火，为了能够和安娜待在一起，尼尔斯不惜违抗了军令，偷偷将安娜带回军营，最终，这一举动被长官发现了，尼尔斯一怒之下带着安娜离开了部队，两人几经辗转来到了一座位于哥斯达黎加的温暖小岛上。 　　尼尔斯对植物有着非常强烈的兴趣，这座宛如世外桃源一般的岛屿恰恰好满足了尼尔斯的所有要求，尼尔斯和安娜在这里开始了仿佛亚当和夏娃一样的自由生活。没过多久，两人就发现，住在这座岛上的，还有一群淳朴善良的土著，然而，岛上小镇里的哥斯达黎加人却对这群原住民进行了残酷的迫害。

This military drama weaves together the diaries and memories of North Vietnamese soldiers who fought in the ferocious 1972 battle of Quang Tri.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

中秋灭门夜，秦家遗孤秦时月被督军戴世尧收留。为查清父亲冤案，她周旋于兄弟间——阿笙从掠夺到深爱，戴世尧从怀疑到动情。当战火重燃，三人冲破宿命：阿笙为爱弃刃，戴世尧为城舍爱，秦时月终在血色中寻得真相与新生。

牢笼 Klatki / Cages, 1966 r. Miroslaw Kijowicz 07:26

中秋灭门夜，秦家遗孤秦时月（李百惠 饰）被督军戴世尧（何昶希 饰）收留。为查清父亲冤案，她周旋于兄弟间——阿笙（陈建宇 饰）从掠夺到深爱，戴世尧从怀疑到动情。当战火重燃，三人冲破宿命：阿笙为爱弃刃，戴世尧为城舍爱，秦时月终在血色中寻得真相与新生。