玛吉·吉伦哈尔、拉尔夫·费因斯将携手主演基于真实故事改编的[法恩斯沃思之家](Farnsworth House，暂译)。影片故事发生在1940年代末的芝加哥，吉伦哈尔饰演的艾迪斯·法恩斯沃思博士与费因斯饰演的具有革命性精神的包豪斯建筑师灭斯·万·德·罗威，有一个雄心勃勃的项目，即建造第一座玻璃房屋。而这也将他们引入一段充满激情却暴躁无处不在的爱情。纪录片[我们都为比尔着盛装]导演理查德·普莱斯将身兼编导于一身。汉威影业负责国际发行，博纳影业参与投资。

In 1908, Allensworth became the first self-administered African-American municipality in California. In lengthy shots, Benning surveys the buildings (school, church, library) of the now-abandoned town and looks for the traces of a Black cultural history. 　　源自：https://www.berlinale.de/en/2023/programme/202302208.html

In 1908, Allensworth became the first self-administered African-American municipality in California. In lengthy shots, Benning surveys the buildings (school, church, library) of the now-abandoned town and looks for the traces of a Black cultural history. 　　源自：https://www.berlinale.de/en/2023/programme/202302208.html

A cinematic essay on race and civil disorder in 1980s Britain, Handsworth Songs takes as its point of departure the civil disturbances of September and October 1985 in the Birmingham district of Handsworth and in the urban centres of London. Running throughout the film is the idea that the riots were the outcome of a protracted suppression by British society of black presence. The film portrays civil disorder as an opening onto a secret history of dissatisfaction that is connected to the national drama of industrial decline. “To make sense of the debris in Handsworth, BAFC had to reconstitute the fragments, and in doing so, words, sound and image came alive in an audio/visual style.” 　　“The feeling of disjuncture is reflected not only in the jump cuts of the film’s narrative discontinuity — moving between archival photographs, newsreel fragments, media reportage, and on-site interviews — it is also deeply anchored by the sombre aural pulse, the disjunctive syncopation of the snare drum beat, the mournful reverb of the dub score that sustains a quiet rage. Though ostensibly addressing the issues of policing, Handsworth Songs reflects more profoundly the agency of the oppressed; it narrates their stories, not purely from the point of view of the event from which it derives its name, but equally through an archaeology of the visual archive of minoritarian dwelling in Britain. As is often the case in BAFC’s work, the ghosts of those stories inform the notion of a historically inflected dub cinema whose spatial, temporal and psychic dynamics relays the scattered trajectories of immigrant com munities.” (Okwui Enwezor)

Dark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight regime of monied white ad men with his militant brothers. Soon afterwards, however, the power that comes with its position takes its toll on Putney... 　　This film had about everything one could wish when viewing it originally, at the end of the 1960's decade. It was immensely entertaining, and provided a contemporary view of the many changes which had occurred during that period - and were still ongoing - in terms of the Black Power movement, Vietnam, and the volatile movement which followed the quieter, preceding postwar 1950's. 　　All of this and one of the funniest films, then or now. 　　Viewing it for the second time recently, I was surprised to find it as engrossing as when seen originally. Its humor is as funny, and its message as strong. 　　And in viewing it now, you get all of this, while at the same time gaining the added enjoyment of its being a "period piece," and a superb chronicling of its this historic, turbulent time. 　　* Robert Downey Sr. redubbed all of Arnold Johnson's lines.

Dark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight regime of monied white ad men with his militant brothers. Soon afterwards, however, the power that comes with its position takes its toll on Putney... 　　This film had about everything one could wish when viewing it originally, at the end of the 1960's decade. It was immensely entertaining, and provided a contemporary view of the many changes which had occurred during that period - and were still ongoing - in terms of the Black Power movement, Vietnam, and the volatile movement which followed the quieter, preceding postwar 1950's. 　　All of this and one of the funniest films, then or now. 　　Viewing it for the second time recently, I was surprised to find it as engrossing as when seen originally. Its humor is as funny, and its message as strong. 　　And in viewing it now, you get all of this, while at the same time gaining the added enjoyment of its being a "period piece," and a superb chronicling of its this historic, turbulent time. 　　* Robert Downey Sr. redubbed all of Arnold Johnson's lines.

From the creative minds behind SNL and Late Night with Seth Meyers comes Mapleworth Murders, a hilarious whodunnit created by, written by and starring Paula Pell and John Lutz, and featuring a “who’s who” of guest suspects and victims. It all leads to a bigger question: why the hell are there so many murderers in one town? 　　Written by / Starring: Paula Pell, John Lutz 　　Supporting Roles: J.B. Smoove, Hayley Magnus 　　Cast: Maya Rudolph, Fred Armisen, D’Arcy Carden, Tim Meadows, Patton Oswalt, Jack McBrayer, Pam Murphy, Ben Warheit, Annie Mumolo, Ike Barinholtz, Marry Holland, James Anderson, Drew Tarver 　　Guest Appearances: Wanda Sykes, Chris Parnell, Terry Crews, Nicole Byer, Jimmy Carlson 　　Director: Claire Scanlon 　　Executive Producers: Paula Pell, John Lutz, Lorne Michaels, Andrew Singer, Seth Meyers, Mike Shoemaker 　　Co-Executive Producers: Hilary Marx, Jason Carden, Claire Scanlon

From the creative minds behind SNL and Late Night with Seth Meyers comes Mapleworth Murders, a hilarious whodunnit created by, written by and starring Paula Pell and John Lutz, and featuring a “who’s who” of guest suspects and victims. It all leads to a bigger question: why the hell are there so many murderers in one town? 　　Written by / Starring: Paula Pell, John Lutz 　　Supporting Roles: J.B. Smoove, Hayley Magnus 　　Cast: Maya Rudolph, Fred Armisen, D’Arcy Carden, Tim Meadows, Patton Oswalt, Jack McBrayer, Pam Murphy, Ben Warheit, Annie Mumolo, Ike Barinholtz, Marry Holland, James Anderson, Drew Tarver 　　Guest Appearances: Wanda Sykes, Chris Parnell, Terry Crews, Nicole Byer, Jimmy Carlson 　　Director: Claire Scanlon 　　Executive Producers: Paula Pell, John Lutz, Lorne Michaels, Andrew Singer, Seth Meyers, Mike Shoemaker 　　Co-Executive Producers: Hilary Marx, Jason Carden, Claire Scanlon

韦恩斯家族的五个兄弟共同组成了闻名全美的“韦恩斯兄弟公司”，这是一个由几兄弟们组成的美国喜剧演员团队。其中在银幕上最为活跃的有四个，他们包括凯南·艾弗里·韦恩斯、戴蒙·韦恩斯、肖恩·韦恩斯和马龙·韦恩斯。从1995到1999年，韦恩斯电视网播出了一个由马龙和肖恩主演的电视节目秀，片名就叫《韦恩斯兄弟》（The Wayans Brothers）。从1990年到1993年，四兄弟都曾出现在一个叫In Living Color的节目中，他们的影业公司还制作了一些动画片，目标观众则多为美国黑人的小孩。他们也参与了引起票房狂潮的几部电影：《惊声尖笑1、2》、《乌龙笑弹》、《小姐好白》、《小孩好黑》等片。此外，马龙和肖恩还曾在《师奶杀手》、《诺比特》、《龙与地下城》等片中有过精彩表现。韦恩斯兄弟们的活跃范围目前还拓宽到了舞台剧表演领域，也受到了许多观众的欢迎。

19世纪末，比利时阿洛斯城一家工厂的工人，因不满在极恶劣的条件下每天工作13小时而怨声载道。厂长波莱曼斯又不顾实际情况，强制推行一套英国的生产方式，导致伤亡事故屡屡发生。青年女工内特发动工人们举行罢工运动。为支持罢工，内特请达恩斯教士在报上发表文章，向世人披露工厂内幕。文章掀起轩然大波，国会不顾保守的天主教领袖查尔斯·沃斯特的反对，成立了调查组。 　　沃斯特施以各种手段诋毁达恩斯。不久，达恩斯的名字上了黑名单，教皇利昂13世便将达恩斯驱逐出教；然而国会吸收了他。沃斯特要达恩斯在政治、宗教之间作出选择。内特勉励达恩斯要坚持不懈地斗争下去。 　　本片获得1993年奥斯卡最佳外语片提名