Passages from James Joyce's Finnegans Wake 1965 16mm film 90mins 　　This was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society. 　　Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue. 　　Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.

Passages from James Joyce's Finnegans Wake 1965 16mm film 90mins 　　This was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society. 　　Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue. 　　Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.

没有多少人知道每家每户都有芬兰妖精居住。它们是一群毛茸茸的生物，出现在人类世界中是为了照顾房子和保持炉火。芬尼克是一个年轻的芬兰妖精，他似乎不在乎自己的责任，把房子变成一个家。他喜欢在家里搞恶作剧，这就是为什么没有一个家庭愿意在他的房子里待很长时间的原因。当一个新的家庭来到他的家时，一切都变了，芬尼克的恶作剧根本不起作用，他遇到了13岁的克里斯蒂娜，令人费解的事情开始在城里发生。芬尼克和克莉丝汀是如此不同，他们将不得不合作，共同解开事件的谜团，拯救这座城市。

Covering over one million square meters, the flagship Heineken brewery is one mega factory.

After leaving the youth shelter, a filmmaker lost in Christian faith begins filming his friend, who has turned to Satanism. His friend, a bankrupt ex-convict, trains tirelessly day and night, desperate to prove his worth. Yet, the people who care about him leave one after another.

After leaving the youth shelter, a filmmaker lost in Christian faith begins filming his friend, who has turned to Satanism. His friend, a bankrupt ex-convict, trains tirelessly day and night, desperate to prove his worth. Yet, the people who care about him leave one after another.

「爲什麼對你掉眼淚」描述影帝的父親死了，影帝卻發現自己竟然流不出一滴眼淚，也遭受親兄弟的指指點點，以為自己有毛病，只好找眼科醫生、心理分析師求救，卻找不出癥結。他無助又委屈地發現，原來在這樣的場合，眼淚是所有人檢驗為人子女對父母孝順程度的指標。這個將淚水運用自如的演員終於明白，比起虛假浮誇的戲劇情境，真實人生是一場更高難度的演出。

《一分為二的世界PIGGY 1／2》選擇以未來世界擬人化的動物為主角，嘗試以奇幻寓言方式探討轉型正義議題。相較於過往直面社會議題的作品，王登鈺期待觀眾藉由本部動畫能夠理解轉型正義不僅是面對歷史的過往，也能夠激起多面向的思考，促進討論人權價值的可能性。

作为日本的非物质文化遗产，如何让当代歌舞伎艺术在400年的传承中创新，票房与人气双丰收的《阿弖流为》给出了最好的答案。 　　本剧改编自日本历史上的真实事件，阿弖流为在日本征讨虾夷的三十八年战争中曾扮演重要角色,松竹映画敏感抓住阿弖流为身上引人入胜的悲剧英雄气质，以歌舞伎的形式再现，阿弖流为和铃鹿的不离不弃之情、和英雄敌手田村麻吕的惺惺相惜之义，皆讴歌了人性中至纯至真的一面；弱小的虾夷与强大的大和实力相差悬殊，到底哪种才是族人自己的选择，哪种才是最好的选择，再次引发了国、族之辩。 　　在演员阵容方面，本版演员包括在当代日本歌舞伎新生代领军人物七代目市川染五郎（现袭名十代目松本幸四郎，曾主演歌舞伎剧目《女杀油地狱》）出演侠肝义胆的阿弖流为，另外还有著名歌舞伎演员中村勘三郎（十八代目）之子中村兄弟俩：哥哥中村勘九郎为歌舞伎新生代演员，出演田村麻吕，弟弟中村七之助曾出演好莱坞电影《最后的武士》，出演铃鹿。 　　日本平安时代初期，朝廷组织了帝人军队征伐北地的虾夷，以统一国家。因渎神而被流放的虾夷人阿弖流为回归部族并成为首领，他和被任命为征夷大将军的田村麻吕必将正面相逢，是坚持抗争，还是听从族人内部的投降派蛮甲，究竟如何才能保护虾夷人民？

作为日本的非物质文化遗产，如何让当代歌舞伎艺术在400年的传承中创新，票房与人气双丰收的《阿弖流为》给出了最好的答案。 　　本剧改编自日本历史上的真实事件，阿弖流为在日本征讨虾夷的三十八年战争中曾扮演重要角色,松竹映画敏感抓住阿弖流为身上引人入胜的悲剧英雄气质，以歌舞伎的形式再现，阿弖流为和铃鹿的不离不弃之情、和英雄敌手田村麻吕的惺惺相惜之义，皆讴歌了人性中至纯至真的一面；弱小的虾夷与强大的大和实力相差悬殊，到底哪种才是族人自己的选择，哪种才是最好的选择，再次引发了国、族之辩。 　　在演员阵容方面，本版演员包括在当代日本歌舞伎新生代领军人物七代目市川染五郎（现袭名十代目松本幸四郎，曾主演歌舞伎剧目《女杀油地狱》）出演侠肝义胆的阿弖流为，另外还有著名歌舞伎演员中村勘三郎（十八代目）之子中村兄弟俩：哥哥中村勘九郎为歌舞伎新生代演员，出演田村麻吕，弟弟中村七之助曾出演好莱坞电影《最后的武士》，出演铃鹿。 　　日本平安时代初期，朝廷组织了帝人军队征伐北地的虾夷，以统一国家。因渎神而被流放的虾夷人阿弖流为回归部族并成为首领，他和被任命为征夷大将军的田村麻吕必将正面相逢，是坚持抗争，还是听从族人内部的投降派蛮甲，究竟如何才能保护虾夷人民？