Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

萨比格尼•瑞比克金斯基喜欢把动画和真人真物相结合，用动画效果来加工真人真事，用真人真事来表现叙事状物的真实性和自然性，还有一个最大的特点就是导演很会用不同的色调来处理画面，以凸现形象，勾绘轮廓，使你觉得那种处理并不夸张，恰到好处。 正如本片，运用色差形成强烈的视觉冲击力，以此构建出超现实的影像。

三浦史朗（生田斗真 饰）的老家经营着以「丸金温泉」为名的钱汤，但他不打算继承家业，离家后出外闯荡，却因为发展不顺而重返老家。此时钱汤已经由弟弟三浦悟朗（滨田岳 饰）继承亡父之志继续经营。史朗的返家，让兄弟两人水火不容。而这个钱汤还有在那边工作的少女秋山泉（桥本环奈 饰），这三人将如何相处？又该怎样让「汤道」的精神给传扬出去呢？

三浦史朗（生田斗真 饰）的老家经营着以「丸金温泉」为名的钱汤，但他不打算继承家业，离家后出外闯荡，却因为发展不顺而重返老家。此时钱汤已经由弟弟三浦悟朗（滨田岳 饰）继承亡父之志继续经营。史朗的返家，让兄弟两人水火不容。而这个钱汤还有在那边工作的少女秋山泉（桥本环奈 饰），这三人将如何相处？又该怎样让「汤道」的精神给传扬出去呢？

one of the best realityshow from E! Entertainment Television

除夕夜，男子从东京来到富山小镇的钱汤，领回亲人之物。发现一张尚未到期的钱汤券，兴之所至即去泡浴。在水烟氤氲、细碎对话之间，拿起她用过的肥皂，拭着她擦过的毛巾，看着镜中朦胧反影，久已遗忘的回忆与省思悠悠浮现。