『★季老师重磅回归 ★直击教师职场困境』陈诺老师教学认真，深受学生喜爱。某日校园发生性平事件，班上特殊生偷看不雅影片，女主角却是班长。网路流传各种关于陈诺的不实指控，多年前恶意逼他离职的家长也找上门。陈诺妻子于是前往学校，试图寻求协助。社会对老师期待很高，忽略了他们也是平凡人，当他们为学生挺身而出时，谁能成为他们的后盾？

堕胎时，女孩从体内排出一只水母。

堕胎时，女孩从体内排出一只水母。

2013年・第5回沖縄国際映画祭コンペティション「Peace部門」で上映。クラスで浮いていた孤独な女子高生・宮下夕紀が、水族館のクラゲの水槽の前で同じクラスの叶子と出会い、唇を重ねたことから互いにひかれあっていく姿を描く青春劇。新潮社の「女による女のためのR-18文学賞」受賞作を映画化していく「R-18文学賞」シリーズの第2弾。

2013年・第5回沖縄国際映画祭コンペティション「Peace部門」で上映。クラスで浮いていた孤独な女子高生・宮下夕紀が、水族館のクラゲの水槽の前で同じクラスの叶子と出会い、唇を重ねたことから互いにひかれあっていく姿を描く青春劇。新潮社の「女による女のためのR-18文学賞」受賞作を映画化していく「R-18文学賞」シリーズの第2弾。

歡迎來到果凍石小鎮，這個迷人的小鎮，有你最喜愛的漢納巴伯拉動畫角色，他們在這裡一起生活、工作和遊玩……與此同時，還忍不住為彼此製造麻煩。

http://www.screenonline.org.uk/film/id/711817/index.html 　　This experimental animation from the Amber Film Collective stands apart from the documentaries and social realist films, mostly concerned with life and work in the North East, that would become the collective's usual stock in trade. It was the third release to appear under the Amber banner, and the second of only two animations (the other being 1969's A Film). 　　Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people - along with some drawings - to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat - washing up dead, stranded in the desolate landscape - as they are a threat - appearing suddenly and making people vanish. 　　Jellyfish resonates with a sense of unseen menace prevalent in the 1970s, at the height of the Cold War. With its mushroom cloud shape (providing the film's most direct image), stinging tentacles and alien appearance, the jellyfish makes a potent symbol for the atomic bomb. The film makes at first implicit, and later explicit, references to nuclear threat: the emblematic jellyfish, a woman disappearing in a toxic cloud, anonymous suited politicians around a table, a recurring image of a man running (in terror?). The mood of urgency and anxiety is enhanced by the soundtrack and editing, which grow faster and more staccato as the film goes on. 　　In 1973, at the time of the film's making, the Vietnam War was still in progress, while the full extent of the risk of a full-scale nuclear war following Russia's intervention in that year's Egypt-Israeli war only emerged later.

Clémence has been severely injured in a car accident, leaving her unable to talk and walk normally. When her sister Romane's boyfriend takes an interest in her recovery, their relationship becomes unbearable for Romane.

http://www.screenonline.org.uk/film/id/711817/index.html 　　This experimental animation from the Amber Film Collective stands apart from the documentaries and social realist films, mostly concerned with life and work in the North East, that would become the collective's usual stock in trade. It was the third release to appear under the Amber banner, and the second of only two animations (the other being 1969's A Film). 　　Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people - along with some drawings - to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat - washing up dead, stranded in the desolate landscape - as they are a threat - appearing suddenly and making people vanish. 　　Jellyfish resonates with a sense of unseen menace prevalent in the 1970s, at the height of the Cold War. With its mushroom cloud shape (providing the film's most direct image), stinging tentacles and alien appearance, the jellyfish makes a potent symbol for the atomic bomb. The film makes at first implicit, and later explicit, references to nuclear threat: the emblematic jellyfish, a woman disappearing in a toxic cloud, anonymous suited politicians around a table, a recurring image of a man running (in terror?). The mood of urgency and anxiety is enhanced by the soundtrack and editing, which grow faster and more staccato as the film goes on. 　　In 1973, at the time of the film's making, the Vietnam War was still in progress, while the full extent of the risk of a full-scale nuclear war following Russia's intervention in that year's Egypt-Israeli war only emerged later.

米莉·波比·布朗将主演由瓦努里·卡希乌（《肯尼亚式友谊》导演）执导的新片《水母物语》（暂译）。该片改编自阿里·本杰明所著的同名小说，故事围绕即将升入七年级的女孩苏茜展开。当她最好的朋友在一场溺水事故中离世，她不认同母亲所说的“有些事情就是会这样发生”。苏茜坚信这场悲剧的真正原因是好友被一种罕见的水母蜇伤。她由此进入一个充满想象的沉默世界，并制定了一个全球性计划来证明自己的理论。书中探讨了生死观念、友谊的脆弱以及近在咫尺的希望。