两只公牛拖着一辆沉重的车经过一个水塘时，一只因被缰绳绊住脖子身陷泥沼，另一只离它而去。身陷泥沼的公牛奋力走出水塘，在旷野发出凄悲的低鸣，引来狼、鹿等动物的注意，纷纷来到它的身旁。狼试图将有公牛在此的消息告知正在山顶沉睡的狮子，狮子没睁眼作理会。 　　狮子醒来下山，吼声引来诸多动物的恐慌，纷纷逃开。看到公牛时，狮子本欲进攻，但因没看出对方对自己有何威胁作罢，其后，它和公牛成为朋友。狮子和公牛的亲密关系招来狼的嫉妒，大概也因想做大王，它开始挑拨离间，妄图狮子和公牛互相攻击两败俱伤，最终，它如愿以偿。

两只公牛拖着一辆沉重的车经过一个水塘时，一只因被缰绳绊住脖子身陷泥沼，另一只离它而去。身陷泥沼的公牛奋力走出水塘，在旷野发出凄悲的低鸣，引来狼、鹿等动物的注意，纷纷来到它的身旁。狼试图将有公牛在此的消息告知正在山顶沉睡的狮子，狮子没睁眼作理会。 　　狮子醒来下山，吼声引来诸多动物的恐慌，纷纷逃开。看到公牛时，狮子本欲进攻，但因没看出对方对自己有何威胁作罢，其后，它和公牛成为朋友。狮子和公牛的亲密关系招来狼的嫉妒，大概也因想做大王，它开始挑拨离间，妄图狮子和公牛互相攻击两败俱伤，最终，它如愿以偿。

50年代西班牙经典的弗拉门戈电影之一，导演José María Forqué的处女作，主演是当时很有名的弗拉门戈舞蹈家Antonio和Xan das Bolas，另外还有著名女歌手María Dolores Pradera等人。与其他弗拉门戈电影相比，这片的特点在故事中加入了些超现实的元素，而不是纯粹的写实派。 　　Jose Maria Forque is a prolific director of Spanish feature films and television programs, he made his feature debut in 1951 with Niebla y Sol/Mist and Sun after making several state-sponsored documentaries for which he received no credit. Forqué founded his own production company, Orfeo Film, in 1967.

《太阳与蝴蝶》是一部极具细腻与温柔质感的青春校园剧，讲述了因旧仓库中尘封的秘密被一群好奇的男学生意外揭开后，引出的一段关于青春与成长的“群体回忆”。在多年后，蔡小小以实习老师的身份重返母校，她发现，尽管岁月更迭，但那些美好的校园记忆却如同老式录音机中的旋律，能够永远清晰地被镌刻在心底。

高雄两广醒狮团在台湾颇具盛名，曾多次於戏狮甲大赛夺冠。然而早期团员多数离团后，目前转型以国高中生为主力。这些少年团员们多来自单亲、经济弱势家庭的背景，他们半工半读，一起住在团内宿舍的大通铺里。本片记录了少年团员们在舞狮团精彩表演的背后，有血也有汗的故事。从桩上跌落的伤、累积的疤不计其数，小小年纪的他们，靠不为人知的努力和坚持，渴求不只在自食其力的物质成就，还有换来的掌声、自尊以及团员彼此之间建立起来的情感依赖。

For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

雪狮子张牙舞爪，抓咬小猫小狗，老爷爷冷静地看到了雪狮子的弱点，凭机智勇敢巧妙地惩治了它。

This short documentary by Ozu was intended to present the artistry of kabuki dancer Kikugoro Onoe IV to both Japanese and foreign audiences. A voice-over narration introduces Kikugoro as well as the dance he performs in the film's second half, in which a young girl is transformed into a resplendent lion (the imagery of which apparently inspired Jean Cocteau as he conceived his own BEAUTY AND THE BEAST). Watching Kikugoro imitate the gestures of a demure maiden you see how he deserved his fame. Ozu shoots the performance in three simple set-ups: a roving frontal shot of the performers on stage, an angled shot from the side of the stage, and an angled longshot that acknowledges the presence of the audience in a way that is unmistakably Ozu.

This short documentary by Ozu was intended to present the artistry of kabuki dancer Kikugoro Onoe IV to both Japanese and foreign audiences. A voice-over narration introduces Kikugoro as well as the dance he performs in the film's second half, in which a young girl is transformed into a resplendent lion (the imagery of which apparently inspired Jean Cocteau as he conceived his own BEAUTY AND THE BEAST). Watching Kikugoro imitate the gestures of a demure maiden you see how he deserved his fame. Ozu shoots the performance in three simple set-ups: a roving frontal shot of the performers on stage, an angled shot from the side of the stage, and an angled longshot that acknowledges the presence of the audience in a way that is unmistakably Ozu.