十五年前，不幸经历陷入绝望的光。哥哥因杀人被捕，一个家庭支离破碎。 　　15年后，哥哥出狱回来，却告诉光自己是被冤枉的。 　　然后光的身边又出现了杀人事件。是复仇吗？15年前的真相究竟是什么？ 　　爱与罪的疯狂故事，即将上演

十五年前，不幸经历陷入绝望的光。哥哥因杀人被捕，一个家庭支离破碎。 　　15年后，哥哥出狱回来，却告诉光自己是被冤枉的。 　　然后光的身边又出现了杀人事件。是复仇吗？15年前的真相究竟是什么？ 　　爱与罪的疯狂故事，即将上演

The annual festival trailer has been one of the Viennale's special features for quite some time now. It is not a commercial trailer as such, but rather a small, autonomous piece of cinema, standing on its own and for the festival alike. 　　In the case of James Benning's work this short trailer is a true action film. Benning shot the work process in a steelworks in the Ruhr area. On a kind of conveyor belt, a glowing piece of steel flits across the screen and disappears only to reappear again as a blazing, shining material. Finally, artificial rain falls onto the glowing metal, shrouding the whole image in a cloud of steam and making it disappear. 　　Created at the Viennale's invitation, James Benning's short film is both a simple and subtle piece of cinema. I took the steel rolling process that takes about ten minutes, as the filmmaker explains his approach, and condensed it down to one minute by cutting out portions and hiding the ellipses in time with dissolves. 　　Following previous years' Viennale trailer by Jean-Luc Godard, which turned out to be a small miracle of montage art, Benning's work is an equally fascinating cinematic poem about time and motion taking an industrial work process as an example. And it would not be James Benning, had he not chosen the title of an old hippie song by James Taylor as the title for his trailer: Fire and Rain. 　　The festival trailer Fire & Rain was screened from September 24 in more than one hundred selected Austrian cinemas and was shown repeatedly as part of the Viennale program from October 22 to November 4.

The annual festival trailer has been one of the Viennale's special features for quite some time now. It is not a commercial trailer as such, but rather a small, autonomous piece of cinema, standing on its own and for the festival alike. 　　In the case of James Benning's work this short trailer is a true action film. Benning shot the work process in a steelworks in the Ruhr area. On a kind of conveyor belt, a glowing piece of steel flits across the screen and disappears only to reappear again as a blazing, shining material. Finally, artificial rain falls onto the glowing metal, shrouding the whole image in a cloud of steam and making it disappear. 　　Created at the Viennale's invitation, James Benning's short film is both a simple and subtle piece of cinema. I took the steel rolling process that takes about ten minutes, as the filmmaker explains his approach, and condensed it down to one minute by cutting out portions and hiding the ellipses in time with dissolves. 　　Following previous years' Viennale trailer by Jean-Luc Godard, which turned out to be a small miracle of montage art, Benning's work is an equally fascinating cinematic poem about time and motion taking an industrial work process as an example. And it would not be James Benning, had he not chosen the title of an old hippie song by James Taylor as the title for his trailer: Fire and Rain. 　　The festival trailer Fire & Rain was screened from September 24 in more than one hundred selected Austrian cinemas and was shown repeatedly as part of the Viennale program from October 22 to November 4.

Camera going through the rooms one by one, each completely differnt from one another, till it cannot go forward anymore.

年逾七十的索拉已拍過多次音樂舞蹈電影，被譽為真正的“歌舞片大內高手”，連《紅磨坊》Moulin Rouge導演巴茲魯曼的成名作《舞國英雄》Strictly Ballroom也受他啟發。05年的作品《嚮舞》Iberia是他第六度以佛朗明哥為題材的電影，但精力旺盛的他只要登高一呼，在全世界各大音樂廳表演的西班牙大師級舞蹈家及音樂家們，必定放下手邊工作，飛回西班牙參與影片的拍攝。 　　受到西班牙作曲家阿爾班尼士（Isaac Albeniz）「Iberia」12首組曲的啟發，《嚮舞》是一部完美結合西班牙藝術的音樂舞蹈電影。片中西班牙鋼琴大師蘿莎托爾斯帕朵（Rosa Torres Pardo）與舞者阿依達葛梅茲（Aida Gomez）等人皆是享譽國際的西班牙大師級表演者。 　　《嚮舞》全片在同一個攝影棚拍攝，但場景卻發生在西班牙十幾個城市，不僅日夜交錯，還在棚裡創造出大雨的氣勢，美術、場景及燈光的設計非常複雜，多才多藝的索拉不僅擔任本片的編導，也一手包辦所有場景的原始構想。總成本一億五千萬台幣的《嚮舞》，每天的拍攝都超過兩百多位的舞者、音樂家、歌唱家、以及工作人員，將偌大的攝影棚塞得滿滿的。 　　索拉集結了西班牙藝術表演之最，跨越媒材界線。從pure flamenco到new flamenco，在濃郁的佛朗明哥風情下，混搭著芭蕾、現代舞、佛拉明哥爵士與鋼琴Chano Domingo、古典國民樂派阿爾巴尼士的音樂與不同城市主題而呈現的不同曲風、實驗劇場表演，數位理性與肢體野性之交錯……西班牙頂尖藝術工作者傾巢而出，用豐沛的能量來創作這個世紀的《嚮舞》。 　　《嚮舞》的原片名“Iberia”一方面是伊比利半島的意思，另一方面也是“西班牙人”的意思。 　　向舞包含了佛朗明哥舞蹈的各种表演形式，每一个段落都捕捉到佛朗明哥舞的爱恨痴狂；舞台上充满力量却又细腻的舞蹈，将身体与心灵间的张力，柔美与劲道间的转换表达的淋漓尽致。从独舞到多人的轮舞，舞者混合着肢体的舞动和戏剧般的面部表情，让观众透过舞者的悲伤、喜乐、傲视、骄狠、热情、冷漠、诙谐、戏谑种种的表情，感受佛朗明哥似浅却深的魅力。此外，萝莎优雅的钢琴独奏到气势磅礴的管乐团演奏行进曲，吉普赛式真情的吟唱，音乐已不只是佛朗明哥舞的配角，而是与舞步相呼应着观众的呼吸起伏。

Set against the backdrop of an imperial victory in the civil war leading up to the Meiji Restoration, Fallen Blossoms tells the story of the sorrows of women in a geisha house in Kyoto by recounting the relationships of its inhabitants. 　　Alexander Jacoby & Johan Nordström wrote: 　　Ishida’s original and brilliant film tells history as ‘her story’. Against the backdrop of a victory for the imperial forces in the civil war leading up to the Meiji Restoration, Ishida recounts the relationships among the inhabitants of a Kyoto geisha house, producing what has been described by Noël Burch as “one of the most remarkable community portraits ever filmed”. The film is set completely inside the house, with only female characters ever seen on screen. 　　For Burch, “the exclusion from the scene of men, patrons or soldiers, is a meaningful corollary of the exclusion of Japanese women from the history of the country”. Ishida narrates his story using an imaginative cinematic style in which shots are almost never repeated. The narrative, Burch notes, evokes Chekhov, but he judges its “combination of a restricted, unified setting and continual renewal of the imagery” to be unparalleled in conventional narrative cinema.