A mother takes her son on a trip into remote wilderness to scatter his father's ashes; they must confront their worst fears when a lone hiker begins following them.

大事业，伯托·罗梅罗，之后在影视多年成功的明星要探索“喜剧的新造型”：未来的喜剧。与此同时，卡罗Padial，实验电影和纪录片导演，正在探索一种新的喜剧路线 - 无论是在不经意的情况下见面会。大事业是一个喜剧演员（伯托·罗梅罗）和独立电影导演（卡罗Padial）谁决定创建“西班牙有史以来最大，最即将到来的和未来的喜剧”的欢快移动和鼓舞人心的旅程。该项目命名为大事业，需要一个大的团队，健康的生产和许多特殊效果。他们都拥有最好的意图，使其工作，但他们会碰到并发症，这将使他们很难来包装“最大的未来喜剧西班牙电影史上”。

A playground, a swing set, a rush of water, a sensation of drowning: in Aya Kawazoe’s elliptical Humongous!, ethereal sounds and images from childhood intrude on a young woman’s daily life, enveloping her in an ambient, oceanic blue. When the past takes the shape of an immense force, how can we escape its pull?

日本龙之子动画公司制作的TV动画，1980年9月至1981年9月在富士电视台播出，一共56话。擅长溜旱冰的小学生游木得到了神秘力量，化身万能战士无比敌拯球地球的故事。井上和彦早期主役作品，分别给本体小学生和无比敌配音

转自：http://music543.com/phpBB2/viewtopic.php?p=83669 　　一對年輕男女，男的是成功的音樂製作人，對生活厭煩，常常覺得自己會消失在空氣中，女的在郵局工作，喜歡把包堸膠^家，又總是拖著皮箱行走，渴望離開。他們相愛，有時相擁，卻抗拒安全感和穩定的關係，如果他們的愛是永恆的，孤寂、荒蕪亦復如此。

转自：http://music543.com/phpBB2/viewtopic.php?p=83669 　　一對年輕男女，男的是成功的音樂製作人，對生活厭煩，常常覺得自己會消失在空氣中，女的在郵局工作，喜歡把包堸膠^家，又總是拖著皮箱行走，渴望離開。他們相愛，有時相擁，卻抗拒安全感和穩定的關係，如果他們的愛是永恆的，孤寂、荒蕪亦復如此。

《親密無比2》利用複製、重覆，及影片規格互相跨越的手法去探索影片的關係及電影的本質。第一階段在暗房中將標準八釐米、超八，及十六釐米影片，藉由達達主義大師曼．雷的革命性技法「空中照相法」複製到超八影片上，使不同規格影片的接觸關係成為一種親密度；第二階段再用光學印片將超八影片放大到十六釐米影片上。影片中，移動著、帶著齒孔與格線的影像是電影創作者在螢幕上所創造的幻象（illusion），移出螢幕後的空白畫面正顯示幻象的背後，有一個觀影者可以發現的現象：電影其實就是一種媒材（material），以及影片背後的放映機的機械運動與其透過光線投影的放映結構。 　　“More Intimacy 2” uses reproduction, repetition and inter-film gauges to explore film’s essential elements. It is contact printed Regular-8, Super-8 and 16mm onto Super-8 in a dark room using Man Ray’s revolutionary technique, the photogram. This technique results in different gauge films having intimate touch. Films themselves become the object instead of other material Man Ray experimented. Then the film is blown up to 16mm by optical printing. The film’s elements of image/no image present an illusion (pornography) the filmmakers created on film (screen). Behind the illusion, these elements allow the viewer to discover the source of film: film itself as material, the mechanical movement projected through light.

In four distinct chapters, Solitary Fragments follows two women, Adela and Antonia, through their everyday lives. The film maps out their relationships, shows us the people that matter to them, and slowly ties their lives together. With a camera as still and observant as Ozu’s tatami angle, Jaime Rosales creates a disarmingly naturalistic, nonjudgmental tapestry of people struggling with ordinary challenges. The result is a fascinating ecosphere of human behavior. Petty arguments, procrastinated plans, quiet sacrifices, acts of compassion, and conciliatory gestures – these momentary interruptions seem cursory, but they are exactly what make life “life”. Winner of Best Film and Best Director at the 2008 Goya Awards, Spain’s equivalent to the Oscar.