We pick up the story on our main character's bus ride home. He sits alone, looking content, trying to pass the time. Then, something seems to get in his eye, because he rubs it and then closes the buses window. Something changes about him. He looks around and feels a strange disgust in the bus filled with quiet strangers also trying to get home and minding their own business. Pavel-Ivanovich is so disgusted that he gets off the bus several stops before his home and walks, arriving at dark. From here his story begins, and we go along for his sad ride. From that evening on he sees only sadness and wrong in everything. He can't respond to kindness, and scolds those closest to him. He offends everyone. At his work he tries to go against as many people as possible, and hurt ordinary citizens too. He also feels that everyone is against him. His condition seems to worsen. How will all this end. Sure this can't be the end for Pavel-Ivanovich, a good man somewhere deep inside. 　　The brilliance of this film lies in the main character's deep state of mind. His suffering. The fact that he hurts everyone around him, feels horrible about it but still does it until he almost loses everything. If you like film's where you feel that you can relate or feel the character's emotions, you might like this film. An incredible pressure is built up throughout the film, and the last scene, for me at least, magically lifts it, if only for a couple of seconds. 　　This is a strange film, and I don't say that a lot. It is very hard to describe, but the main elements that drive the feel of this film are the main character's state of mind and the music (more than half of the film has incredible original music playing in the background). Daneliya's films have incredible music like in Autumn Marathon, Kin-Dza-Dza, and Thirty-Three. Daneliyaa was into jazz and played drums in a band way back before he started making film so his films are very rich in music. Also this film is sad, but is also a comedy. All these elements mix to make an incredible movie

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

脉轮是14岁，过着精疲力竭的生活。他、他的父母和他的许多兄弟姐妹都在柬埔寨的稻田里一起工作。晚饭时，他们围坐在小木屋里的木桌旁，父子之间总是意见分歧。当一个朋友告诉查克拉在工厂赚钱的可能性时，这个男孩决定自己出发。但在途中，他落入了贩运人口的魔掌，被贩卖为奴隶。在他现在必须工作的泰国渔船上，船长的政权既残忍又武断。暴力、酷刑甚至谋杀都是当今社会的当务之急。脉轮意识到他唯一的希望就是摆脱折磨他的人。 　　罗德·拉什金的第一部故事片是一部残酷而现实的描述柬埔寨强迫劳工处境的电影。这位澳大利亚导演的方法远远不够漂亮，无人能幸免。他的扣人心弦的电影是一个对社会不公正的激情见证，同时也是一个关于一个被考验人性的男孩的令人感动和震惊的成年故事。

对于年轻的小陈（陈熙）而言，一个计划完美的夜晚变成了一场噩梦。他的情人，关明（徐徐）因使用药物过量不省人事。惊恐的小陈独自徘徊在成都的街头。绝望中，他向好友费欧娜（文思睿）求救。而费欧娜的女友萝拉（余吟萌）则因小陈鲁莽轻率的行为而恼怒，不愿涉足这场危险游戏。最终他们寻求 到了什么方案去解决？ 　　继获奖电影短片《逆境》后，成都青年导演徐小溪和西班牙导演罗伯托卡努图再度联手合作，以成都为题材，创作出的最新短片作品。《浮果》的电影海报由成都知名漫画人冷志文设计。原创音乐则由意大利著名作曲家安德烈琴塔佐先生创作完成。此片已入选包括第五十三届西班牙希洪电影节，第十九届荷兰阿姆斯特丹ROZE FILMDAGEN电影节，第十三届毕尔包 ZINEGOAK电影节等超过40个国际电影节的短片竞赛单元，并在2016年4月举行的西班牙阿斯图利亚斯电影节上，勇夺观众评选“最佳短片”和评委会“最佳摄影”两项重要奖项。

Follows Waverly who after her parents divorce finds herself yanked from her comfortable life in Alaska to spend the summer in her aunt's sunny beach town.

Follows Waverly who after her parents divorce finds herself yanked from her comfortable life in Alaska to spend the summer in her aunt's sunny beach town.

昔日香港，長者知得最清楚！最佳嘅掌故王，當然係喺社區土生土長嘅老友記。睇住社區變化嘅資深居民帶領，向廿幾歲嘅年輕人，大談後生仔女意想不到嘅地區老故事。鰂魚涌山邊原來曾經有吊車上栢架山？灣仔大佛口以前係日本人社區？睇落保留傳統風味嘅大澳又有幾多嘢真係無變？唔同嘅老友記，有老街坊、有導賞團義工、有歷史發燒友，帶年輕主持行街 (或坐低慢慢傾)，同觀眾一齊話當年。

暴雨之夜，一名神秘女子急敲一对老夫妇的家门，她有何求？擅长惊悚题材的阿根廷导演贡萨洛·卡尔扎达自编自导的最新力作，灵感源于他祖父母相知相守的关系。通过明晰的时间节点，将故事浓缩于一个晚上，以年近百岁的老人为叙事主线，借由交叉剪辑和大特写镜头，将他老年病症和错乱回忆视觉化，在多种镜像原理的作用下，快节奏呈现迟暮之年的内心愧疚与自我救赎。灵活运用对比色，模糊超自然现象与记忆的边界，于同一时空架起多维度视角，探求事实真相。

实地采访拍摄了赣州福寿沟相关构造及防洪排涝系统。通过历史古迹与文献资料的展现，以及对相关文博专家和当地居民的采访，将赣州福寿沟这一宋代排水系统详细真实地进行探秘展示。