In a neighbourhood rife with racial tension, a local girl falls for a recent arrival.

In a neighbourhood rife with racial tension, a local girl falls for a recent arrival.

Jeton, a 10-year-old boy is sitting on the edge of a balcony on the 4th floor. Neighbors and passers-by, terrified by this situation, call the police and firefighters for help.

Jeton, a 10-year-old boy is sitting on the edge of a balcony on the 4th floor. Neighbors and passers-by, terrified by this situation, call the police and firefighters for help.

崇山峻岭、巍峨山颠，耸立着一座恢宏壮丽的中世纪城堡。在这个晴朗的日子里，让人哭笑不得的故事相继上演。镜头一：一名憨厚老实又稍稍有些笨拙的工匠，正坐在城堡的窗口修葺窗户，他已经砸伤了自己的两个手指，一不小心又砸到另外一只手指。他本能地缩回手，却不慎掉了下去。工匠奋力抓住阳台边沿，但是另一双手将他推了下去。工匠福大命大，暂时逃生，可是悲惨的命运即将到来；镜头二：身披铠甲的国王走进房间，发现有一双手在阳台，他认定是小偷偷他的财宝，于是乎……镜头三：一名小偷钻进国王的房间，准备行窃，这是一切悲剧的开端，也是一切悲剧的结尾。 　　北京电影学院2011届毕业作品。

柏林电影节银熊奖提名。 　　La Terraza (1963) 'The Terrace' 　　Shocker From Argentine: Attempt at Symbolism Ends in Melodrama, Torre Nilsson Depicts Youth in Rebellion 　　By BOSLEY CROWTHER 　　Published: November 25, 1964 　　LEOPOLDO TORRE NILSSON, the great Argentine new wave film director who made an arresting, disconcerting picture about an elusive young gold-digger entitled "Summerskin," has now come up with another arresting, disconcerting picture about a group of wealthy, elusive, world-weary young Buenos Aires sybarites. It is called "The Terrace" and it opened yesterday at the Trans-Lux 52d Street and the Globe. It had previously been seen here in one performance at the New York Film Festival in 1963. 　　Following very much in the spirit of such memorable films about decadent youth as Federico Fellini's "I Vitelloni" and Claude Chabrol's "Les Cousins" and "Le Beau Serge," it takes a long look at a low-key orgy of rich young fellows and fashionable girls who barricade themselves from their troubled elders on the recreation roof of a swank apartment house. 　　There, in symbolic isolation, they loll in scanty swimsuits beside the pool, drink beer (later switching to whisky, which is obligingly fetched for them by the 10-year-old daughter of the superintendent, a happy and enterprising child), make love in desultory fashion and finally organize themselves sufficiently to play a game called "raft," which turns out to be the most unusual and explanatory action in the film. 　　In this game, all the players, except one, line up on the edge of the pool. Then the one walks down the line, pausing briefly in front of each player, deciding whether he (or she) shall be the one who is permitted to remain "on the raft" with him (or her). Those players not wanted are pushed into the pool after brief and candid explanations of what is disagreeable about them. 　　Obviously, this is a wicked sort of "truth and consequences" game in which the jealousies and resentments, as well as the preferences, of the players are revealed. And in the playing of it we are made to perceive, at least, the sexual tastes and hero concepts of the foremost individuals in the group. 　　This is, indeed, the showdown of the perverted natures of these young folks, complementing other passing intimations of their anti-Semitic and fascistic tendencies. Toward the end their bravado Is evidenced in an impromptu "suicide roulette," in which they take turns standing on the parapet of the roof and threatening to leap (or be pushed off by a companion) if their elders break through to them. 　　And finally, when the elders do reach them, during a defection in their ranks, the most arrogant of the fellows grabs the small child and tosses her over the parapet. 　　It is clear that Mr. Torre Nilsson and his writer and wife, Beatriz Guldo, offer this tale as an allegory of the angry alienation of a class of young people in the world today. Their alienation, too, from religion is indicated in one scene in which a priest hovers over them in a helicopter trying to persuade them through a bull-horn to desist. 　　But the weakness and inadequacy of the drama is that it does nothing more than document the rebelliousness of the young people. It does not specify why. And the little we are shown of their elders represents them as mere hollow clichés. 　　Nothing is wrong with the performing. Leonardio Favio is tough and blunt as the most arrogant of the fellows, and Graciela Borges is the niftiest of the girls. Other young actors and actresses frisk and flaunt themselves aggravatingly. And a precocious child named Belita is delightfully normal and contemptuous of the lot, until she is thrown off the parapet and left at the end with a symbolically crippled leg. 　　Photographically, Mr. Torre Nilsson has done a commendable job, capturing the look of Buenos Aires in a hard, realistic style and hinting at the natures of his youngsters with significant angle views of them. But the lack of pictorial equating of the defiant ones with that against which they rebel leaves the film a mere roof-top melodrama rather than a social study with a lesson to impart.

Cast 　　Irmantas Bacelis ... Rolanas' Father 　　Elzbieta Degutyte ... Emilija 　　Rolandas Kazlas ... Emilija's Father 　　Viktorija Kuodyte ... Emilija's Mother 　　Saule Rasimaite ... Emilija's Sister 　　Karolis Savickis ... Rolanas 　　Antanas Surgailis ... Ina's Father 　　Dovile Tarvydaite ... Ina 　　Plot / Synopsis 　　Soviet eighties. A little town in the periphery. After his parents' divorce, 11-year-old Rolanas and his dad move in next door to same-aged Emilija. Friendship is born between the kids, however, shyness or fear of opening up makes them communicate through the wall, sitting in their own balconies, or through a socket connecting their flats. Emilija's parents also appear to be on the verge of divorce. The children discover common topics, activities. Unfortunately, a nearly tragic accident prevents Emilija to go to the balcony. This encourages both children to set out for a "real" date.

《阳光灿烂的日子》哈萨克斯坦新浪潮篇？ 　　While he is operating on a patient for a brain tumour, a surgeon notices a „20“ tattooed on the patient’s hand. He recognizes his patient as his childhood neighbour, and this reminds him of their life in Alma-Ata in the fifties, as they lived in the same building at number 20. Then they grew in a period of ending Stalinism, among adults who were both coward and brave. He starts dreaming of the balcony, which was their refuge… 　　Kalykbek Salykov was born in 1952 in Almaty, Kazakhstan. He studied at the Kazakh Institute of Theatre and Cinema from 1976 till 1980, while he was working for the television. After the graduation, he worked in Chimkent Theatre, where he directed 7 plays. Since 1981 he worked for Kazakhfilm. In 1984, after short cinema courses organized by Kazakhfilm, he made his first short film, Tor. He shot in 1985 another short, Golden Mekre, and in 1991 his second feature film after The Balcony (1988), Lovers of December. He tragically died in a car accident in 1995.

ヌード写真を中心に膨大な作品を生み出してきた写真家・荒木経惟。その真骨頂が撮影対象との関係性を濃密に映し出す「私写真」だ。妻との新婚旅行からその死に至るまでを収めた写真集は世界的に反響を呼んだ。2013年には前立腺がんの影響から右目を失明するが、創作意欲は衰えていない。その荒木とフォト・セッションするのが、俳優の満島ひかり。自ら被写体となりながら、アラーキーの作品世界、そして写真家人生に迫る。