密歇根州乡村的一对同性恋伴侣建造了一个和平的、大麻友好的乌托邦，名为彩虹农场。两人与当地政府发生冲突，最终引发了美国警方和联邦调查局之间规模最大、最戏剧性的围攻事件之一。

[房间]导演伦尼·阿伯拉罕森将执导取材于真实社会事件的新片[燃烧的彩虹农场](Burning Rainbow Farm，暂译)。影片根据迪恩·库伯同名纪实小说改编，讲述一对以种植大麻为业的农场主夫妇，因间接导致一位吸食大麻的少年在车祸中丧生而被起诉，作为反抗他们点燃了农场，最终被FBI双双射杀。

阿丁（柯尔士艾达·潘恩温 Krissada Pornweroj 饰）和凯特从学生时代起就是恋人了，只是阿丁从来都没有向父亲透露过凯特的消息。就在他决定公布恋情时，父亲却先他一步公布即将结婚的消息，而他的新娘不是别人，正是凯特。为了成全父亲的婚姻，阿丁选择了退出，就这样，凯特从练成变成了他的继母，之后，阿丁生下了夸特。阿丁非常喜欢夸特，兄弟两人之间的感情十分要好。 　　夸特向全家人隐瞒了自己是同性恋的事情，甚至找到了乔姆假扮自己的女友。但最终，事情还是败露了。受不了凯特的冷眼和辱骂，夸特选择了自杀。得知儿子的死讯，凯特将一切的责任都推到了乔姆的身上。

阿丁（柯尔士艾达·潘恩温 Krissada Pornweroj 饰）和凯特从学生时代起就是恋人了，只是阿丁从来都没有向父亲透露过凯特的消息。就在他决定公布恋情时，父亲却先他一步公布即将结婚的消息，而他的新娘不是别人，正是凯特。为了成全父亲的婚姻，阿丁选择了退出，就这样，凯特从练成变成了他的继母，之后，阿丁生下了夸特。阿丁非常喜欢夸特，兄弟两人之间的感情十分要好。 　　夸特向全家人隐瞒了自己是同性恋的事情，甚至找到了乔姆假扮自己的女友。但最终，事情还是败露了。受不了凯特的冷眼和辱骂，夸特选择了自杀。得知儿子的死讯，凯特将一切的责任都推到了乔姆的身上。

Tin和Kat在学生时代是一对甜蜜的情侣，Tin本想在海边度完假后便把Kat介绍给自己的父亲，可谁想父亲准备与之结婚的女人正是自己的恋人Kat.为了父亲的幸福…

燃烧的爱

在一个美丽祥和的海岛上，有一群健康可爱的蔬菜，大家在萝卜村长的带领下，过着幸福而又快乐生活。可是神秘邪恶的基因博士在入侵了世上大部分地区后，将下一个目标瞄准了蔬菜家园，他派遣了一群变异动物去对付蔬菜们。阳光正义的小番番，善良可爱的洋葱美眉，无厘头爱恶作剧的萝卜特，脾气火爆的火辣辣，超级大吃货小胖豆……蔬菜们将使用各自神奇的技能，反抗动物们的入侵和破坏，保卫自己的家园。

Deep into Hell Week, a favored pledgee is torn between honoring his code of silence or standing up against the intensifying violence of underground hazing.

The story is about an unnamed detective, hired by a beautiful, alcoholic woman, to find clues related to the disappearance of her husband. In the process, the detective is given a map (a ruined one), supposedly to help him, but which turns out in the end to be more like a metaphor of the guidelines one should have in life. The impossibility of finding relevant clues to help him solve the mystery leads the main character to an existential crisis, which builds slowly from inside and finally puts him in the position of identifying himself with the man he was supposed to find. 　　The Man Without a Map (燃えつきた地図 Moetsukita chizu) is a 1968 Japanese film directed by Hiroshi Teshigahara and starring Shintaro Katsu. The screenplay was adapted by Kōbō Abe from his novel The Ruined Map. This was the fourth and final film collaboration between Teshigahara and Abe.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.