特丽莎娜（芙蕾达•平托Freida Pinto 饰）是一个非常传统的印度女孩，在父亲遭遇一场不幸的车祸之后，特丽莎娜在机缘巧合之下来到了英国商人杰（里兹•阿迈德 Riz Ahmed 饰）所经营的酒店里工作。随着时间的推移，善良质朴的特丽莎娜渐渐吸引了杰的注意，虽然知道自己和杰之间有着无法跨越的阶级差距，但特丽莎娜亦不可自持的坠入了爱河。 　　然而，这段不符合当时社会价值观的感情注定不会有好的结果，虽然特丽莎娜坚信她和杰之间的爱情能够打败世俗，可之后发生的种种给她泼了一次又一次的冷水，最终，特丽莎娜还是成为了这个社会的牺牲品。

特丽莎娜（芙蕾达•平托Freida Pinto 饰）是一个非常传统的印度女孩，在父亲遭遇一场不幸的车祸之后，特丽莎娜在机缘巧合之下来到了英国商人杰（里兹•阿迈德 Riz Ahmed 饰）所经营的酒店里工作。随着时间的推移，善良质朴的特丽莎娜渐渐吸引了杰的注意，虽然知道自己和杰之间有着无法跨越的阶级差距，但特丽莎娜亦不可自持的坠入了爱河。 　　然而，这段不符合当时社会价值观的感情注定不会有好的结果，虽然特丽莎娜坚信她和杰之间的爱情能够打败世俗，可之后发生的种种给她泼了一次又一次的冷水，最终，特丽莎娜还是成为了这个社会的牺牲品。

萨娜努力维持着事业与生活的平衡，疲于应付社会对单身女性的满满恶意，但意外怀孕打乱了她的日常节奏，内心深处的创伤也在此时逐渐显现。印度国家电影奖得主苏德翰舒·萨利亚自编自导作品，从如火如荼的“me too”运动汲取灵感创作了本片的剧本，无情揭露了印度女性在社会生活各个方面遭遇到的艰难、荒诞的困境。蓝绿色调的布景与摄影为无处不在的冲突矛盾增添了一丝克制与沉静，女性主义与宝莱坞传统歌舞的结合则充满了创新的巧思。入围塔林黑夜国际电影节主竞赛单元。

萨娜努力维持着事业与生活的平衡，疲于应付社会对单身女性的满满恶意，但意外怀孕打乱了她的日常节奏，内心深处的创伤也在此时逐渐显现。印度国家电影奖得主苏德翰舒·萨利亚自编自导作品，从如火如荼的“me too”运动汲取灵感创作了本片的剧本，无情揭露了印度女性在社会生活各个方面遭遇到的艰难、荒诞的困境。蓝绿色调的布景与摄影为无处不在的冲突矛盾增添了一丝克制与沉静，女性主义与宝莱坞传统歌舞的结合则充满了创新的巧思。入围塔林黑夜国际电影节主竞赛单元。

故事发生在1970年代的洛杉矶，Joyce 是一名非常认真的年轻女性主义者，梦想打造一本女性创编、面向女性、关于女性的杂志，她与一家廉价出版商合作推出了第一本以女性为目标的情色杂志。

故事发生在1970年代的洛杉矶，Joyce 是一名非常认真的年轻女性主义者，梦想打造一本女性创编、面向女性、关于女性的杂志，她与一家廉价出版商合作推出了…

A young gambler, whom his mother calls the police on, believing that jail is the best place for him, finds an unexpected romance with a talented girl artist. Determined to turn his life around he strives to become a better, more useful person.

A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art. 　　Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art. 　　Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

Oksana Shachko ended her life in 2018 in Montrouge. She was 31 years old. Despite her young age, this extraordinary personality had already lived several lives. She was one of the three co-founders of the FEMEN movement, which appeared in Ukraine 10 years earlier and a committed artist. She was the first to show her breasts in a demonstration, thus inventing the standard gesture that will symbolize the FEMEN. From Ukraine, she arrived in Paris in 2013; she was then a major figure in a movement that had become planetary. However, the country of human rights does not give her the expected welcome: she goes from disappointment to disappointment and her situation becomes precarious. However, she continues to fight and paint.