深秋的济南长清，新农村的建设缓缓拉开序幕……一时间草木萧疏、机器轰鸣，面对高铁建设和故乡的整体搬迁，父子俩将要经历一场漫长的告别。

In this whimsical and playful film, Bokanowski returns to the complex optical array of pinholes, mirrors, prisms, and refractive substrates of his earlier film, La Plage.

It is the discovery of a document recognising the services rendered by two fishermen from Lake Geneva during the Occupation that triggered the investigation undertaken by Swiss author Janine Massard in her novel Gens du lac, published in 2013. Jean-Marie Straub retraces the itinerary of the son, Paulus – just as he and Danièle Huillet had followed that of Jean Bricard just over ten years ago in the last film they made together. Gens du lac does not depart from the rule that sets each Straubfilm as an account of a historical situation in which men have resisted (Daney). Shot aboard a boat and hardly ever leaving the lake’s waters, the film depicts the life of this only son who has found brothers over the course of his fishing – be it his first steps in the trade, the help given to fugitives and deliveries of provisions to the Resistance, or his contribution to the emergence of a new Left in post-war Francophone Switzerland. Finding the seeds of a political act in this unconditional hospitality, Straub gradually dissipates the peaceful impression and conservative spirit of this “friendly, even emollient” landscape, and distinguishes between the silence “recommended during the hostilities” from the silence that subsequently enjoined people not to disturb the political order. While the people of the lake do not guard a frontier, they do, on the other hand, belong to a front. (Antoine Thirion)

In a mountain village, Félix comes down from the pastures and finds his old mother lying dead on her bed. Shaken, he runs off. He drives a few miles down the valley to see a young man who has just contacted him on a dating app.

中国东北农村，跨性别者林荫在单身母亲的强烈催促下被迫娶妻生子，但因自己无法接受，便偷偷恳求表哥和自己的妻子发生关系，只为保住家族的香火传承。最终，妻子如愿怀孕，林荫一家人兴奋又欢喜，妻子却绝望和失落，两方形成了鲜明的对比。在故事里，每一个人都是被传统思想所束缚的悲剧人物，既可怜也可悲。

Surrounded by sounds of animal life, both from the lake and the neighbouring forests, this film takes us through the seasons. Sounds of water, the wind and a human presence.

It is the discovery of a document recognising the services rendered by two fishermen from Lake Geneva during the Occupation that triggered the investigation undertaken by Swiss author Janine Massard in her novel Gens du lac, published in 2013. Jean-Marie Straub retraces the itinerary of the son, Paulus – just as he and Danièle Huillet had followed that of Jean Bricard just over ten years ago in the last film they made together. Gens du lac does not depart from the rule that sets each Straubfilm as an account of a historical situation in which men have resisted (Daney). Shot aboard a boat and hardly ever leaving the lake’s waters, the film depicts the life of this only son who has found brothers over the course of his fishing – be it his first steps in the trade, the help given to fugitives and deliveries of provisions to the Resistance, or his contribution to the emergence of a new Left in post-war Francophone Switzerland. Finding the seeds of a political act in this unconditional hospitality, Straub gradually dissipates the peaceful impression and conservative spirit of this “friendly, even emollient” landscape, and distinguishes between the silence “recommended during the hostilities” from the silence that subsequently enjoined people not to disturb the political order. While the people of the lake do not guard a frontier, they do, on the other hand, belong to a front. (Antoine Thirion)

Stewart Kane, an Irishman living in the Australian town of Jindabyne, is on a fishing trip in isolated hill country with three other men when they discover the body of a murdered girl in the river. Rather than return to the town immediately, they continue fishing and report their gruesome find days later. Stewart's wife Claire is the last to find out. Deeply disturbed by her husband's action, her faith in her relationship with Stewart is shaken to the core. She wants to understand and tries to make things right. In her determination to help the victim's family Claire sets herself not only against her own family and friends but also those of the dead girl. Her marriage is taken to the brink and her peaceful life with Stewart and their young son hangs in the balance. The story of a murder and a marriage. A powerful and original film about the things that haunt us.

德国凶杀案侦探MichaOberländer（Matthias Koeberlin）和他的奥地利同僚汉娜·齐勒（Hannah Zeiler）（诺拉·瓦尔德斯塔滕）（NoraWaldstätten）是位于布雷根茨镇和林道镇之间边界的（虚构的）德国奥地利合作警察局的合伙人。他们的工作是解决在两个国家都有证据或线索的谋杀案，而且由于国际边界尚未在湖泊中确定，因此采取多国方法至关重要。该系列对比了两个侦探的不同性格：虽然Micha风度翩翩，热血沸腾，但Hannah却情绪低落，难以与人际交往。尽管或由于他们的性格和方法不同，Micha和Hannah还是一支出色的团队。他们在一起工作的时间越长，彼此享受的陪伴就越多。甚至比他们想承认的还要多。为团队提供帮助是他们的彻底，但充满包容性，该系列中反复出现的子图是Oberländer的婚姻困难和Zeiler寻找她失踪的父亲的过程。