The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

金身罗汉降世的法海，冬日化缘时救了冻僵的小青蛇，被咬后金刚宝血入蛇口，他放蛇逃生。五百年后，法海成金山寺住持，小青修成人形，对他念念不忘。 杭州偶遇，法海制服小青时遇鼠妖，追妖让小青逃脱。入夜小青为救婴儿战鼠妖受伤，法海掐算后隔空掷禅杖救她，带回寺照料。小青吐情意遭拒，无奈诀别。 后来法海遇佛祖座前蜘蛛精所化僧人，将其镇压，触怒佛祖失法力。鼠妖带众妖袭寺伤法海，小青赶到，舍蛇丹救法海后法力尽失、负伤离去。 法海得蛇丹复法力，念经超度赎罪。小青被白蛇救走共修，又五百年后，法海化缘路过保和堂，见白衣女子济世，其旁青衣女子让他震惊。

在阅读了艾莉森·莱斯特的经典著作后，九个孩子（以及一只狗）发现自己来到了书名中的魔法海滩。在这里，他们充满活力的想象力变成了现实。这部根据艾莉森·莱斯特备受喜爱的书改编的合集电影《魔法海滩》，探讨了想象力的力量与魔力。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

盛世年间，妖祸横行。朝廷特设捉妖组织“缉妖司”，每个成员均需饮下妖血，用以对抗妖魔。但若无法做到心如止水，就会被妖血反噬，化为半妖。 是夜，缉妖…

The functional drama by genius-director Naoyuki Tomomatsu. Sister of Miyo and Kayo was sold to prostitute hut, refuge to the famous Temple of Great Mercy and Goodness as a refuge. Sisters going Awakening a woman by preaching hermit of nunnery, was hidden. In fact, Temple of Great Mercy and Goodness I had a nun who Atega~tsu magistrate and landowner, the village headman.

上北下南左西右东，这四个方位永不靠近，也从不远离。似乎在它们的中心永远有个什么神秘的力量，使他们环绕于四方。 　　这种神秘的力量是勇敢的，有爱的，也是自由的。像海上的灯塔，无名的寺庙。 　　影片诞生在北京的酷儿厂牌Pharos环绕寺一周年之际，秉持着对世界无尽的好奇与思考，在我们赖以生存的土地上不断地创新及拓宽对边界领域的认知，为同我们相同频率的酷孩子们呈现出祂该有的模样。