战争夺去了医生叶丽莎的丈夫。然而，个人的悲痛并没有使她倒下，她清楚地了解生活的意义，了解自己的责任是拯救人的生命。她忘我地劳动着，把病人的痛苦当作自己的痛苦，与一切保守、落后、个人主义的思想进行着斗争。她的同行阿卡宁一再跟她纠缠，追求她。但是她看出阿卡宁是个自私自利的人。他的英俊的外貌掩盖不了渺小、卑微的灵魂，她拒绝了他的爱。命运使她遇到了一个两腿瘫痪的病人——造船设计师叶尔肖夫。这是—个以革新精神对待自己的工作、也以不屈的意志对待自己的病痛的人。在叶丽...

“A fascinating tale of visionary aesthetics and… sublime structures” – Steve Dollar, THE WALL STREET JOURNAL 　　In 1961, three young, visionary architects were commissioned by Fidel Castro and Che Guevara to create Cuba’s National Art Schools on the grounds of a former golf course in Havana, Cuba. Construction of their radical designs began immediately and the school’s first classes soon followed. Dancers, musicians and artists from all over the country reveled in the beauty of the schools, but as the dream of the Revolution quickly became a reality, construction was abruptly halted and the architects and their designs were deemed irrelevant in the prevailing political climate. Forty years later the schools are in use, but remain unfinished and decaying. UNFINISHED SPACES charts the journey through almost boundless creative ambition, the destructive force of bureaucracy, and the aftermath on the lives of the architects. It’s a stunning film, both in narrative and photographic terms. 　　(Directed by Alysa Nahmias, Benjamin Murray, USA, 2011, 86 mins, NR) HD Digital Presentation

Alastair Sooke explores the mysterious appeal of unfinished works of art. From Dickens's unfinished The Mystery of Edwin Drood and Jane Austen's Sanditon to Coleridge's Kubla Khan, he talks to those who have attempted to finish these literary enigmas and those who believe that any such task is impossible. 　　In a film that picks through literature's leftovers, Sooke explores the moral dilemmas as well as the commercial opportunities finishing presents. And he considers how, in the modern era, artists have purposefully left their work unfinished. 　　Paul Morley, Mark Lawson, John Mullan, Robert McKee, Sarah Churchwell, Gwyneth Hughes, Andrew Motion and Mike Figgis amongst others, help Sooke work his way through a never-ending story.

理想主义者的记者Ozan即将与同职业的Elif结婚。 Ozan在追踪一个神秘而艰难的新闻。 然而一场交通事故夺走了Ozan的生命。 但是，受上天垂怜，Ozan借尸还魂，以他人的身体重生。 好不容易捡回一条命的Ozan有两项艰巨的任务：找出谁杀死了他，并告诉Elif所有事实。

The unique film set within a Karaja village in Brazil's Mato Grosso, Jim Jarmusch listens while Sam Fuller describes the 1950's "Tigrero" movie that he was unable to make. It also profiles the Karaja people. The non-film "Tigrero" had a fascinating history. The name was purchased off a novel by 20th Century Fox by Darryl F. Zanuck. Screen writer Fuller was sent to Brazil to come up with the story. There between two jungle rivers, he meets the Karajas who allow him to film their ceremonies and their village. Upon returning, he wrote a blockbuster film which would have starred John Wayne, Tyrone Power, and Ava Gardner. Because it was to be filmed in the dangerous jungle, Fox nixed the project. A lot of this movie focuses on Jarmusch interacting with the natives. The two also discuss Fuller's career and religion. ~ Sandra Brennan, All Movie Guide

在二战结束的时候，60分钟未编辑的原片，静躺在一个不受干扰的东德档案库中，随后被发现了。在 1942 年五月在华沙由纳粹党人所拍摄，而且被分类成了 " 犹太人街 "，这片段很快地成为了历史学家寻找华沙犹太人街的一笔真实纪录。但是，在之后发现了一卷长期消失的胶卷，内容包含多样摄影镜头和摄影师显露的场景，以及早前难以解释的连续镜头。一部未完成的电影将全部呈现原始胶片内容，从片中可以注意到虚构的情节（包括一个被设计的宴会）虚假地显现犹太城市居民享有的“好生活”，也深入探查了一卷已经臭名昭著的纳粹宣传影片。这部未完成的电影是一部庞大又重要的电影，记录我们这个时代最严重的恐怖事件，揭露了一些犯罪者努力地推动他们的日常工作事项，并扮演一切在光天化日之下。Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate.

在二战结束的时候，60分钟未编辑的原片，静躺在一个不受干扰的东德档案库中，随后被发现了。在 1942 年五月在华沙由纳粹党人所拍摄，而且被分类成了 " 犹太人街 "，这片段很快地成为了历史学家寻找华沙犹太人街的一笔真实纪录。但是，在之后发现了一卷长期消失的胶卷，内容包含多样摄影镜头和摄影师显露的场景，以及早前难以解释的连续镜头。一部未完成的电影将全部呈现原始胶片内容，从片中可以注意到虚构的情节（包括一个被设计的宴会）虚假地显现犹太城市居民享有的“好生活”，也深入探查了一卷已经臭名昭著的纳粹宣传影片。这部未完成的电影是一部庞大又重要的电影，记录我们这个时代最严重的恐怖事件，揭露了一些犯罪者努力地推动他们的日常工作事项，并扮演一切在光天化日之下。Yael Hersonski's powerful documentary achieves a remarkable feat through its penetrating look at another film-the now-infamous Nazi-produced film about the Warsaw Ghetto. Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these "everyday" scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate.

这部游走于回溯和想象，文字和移动影像之间的创作是基于电影的电影，也是将电影和电影装置（apparatus）再物质化的尝试。在一次去德黑兰的考察中，艺术家和共同写作者重访了在1979年伊朗伊斯兰革命中被焚烧的电影院“一条街”，他们把革命前的伊朗电影和电影院场所作为分析地缘政治和石油政治的透镜。文字、档案、移动影像、电影素材和声音被穿插在真实与虚构的叙述结构中，展现了 “无声的” 历史操纵以及后革命时期伊朗社会状态。战争、欲望与物质之间的纠缠指向一种人造的末世“失乐园”，同时也从历史层面向观众问询激进革命在哪些层面正在向当下扩散。

Two couples, four characters portrayed by eight actors, based on texts, some poems by Gerrit Kouwenaar. The film follows four persons (each played by two different actors alternating in the roles) as they rush about the streets of Amsterdam, each of them extremely busy doing something. One highlight of the film is the reading of several of the poems of celebrated poet Gerrit Kouwenaar. Despite its severely experimental style and deliberate storylessness, this film was sufficiently inventive and rhythmically interesting to receive a warm reception from some critics. [Clarke Fountain, All Movie Guide] 　　"Ongedaan Gedaan" (or, Undone Done, my translation) 　　is a very formalistic movie from a director praised by Straub-Huillet. Because of the abstract (at times absurd) form, focussed mostly on rythm of movement, images and words it can be watched without subtitles. But on the other hand it features poetry from the famous experimental poet Gerrit Kouwenaar... so Dutch speakers have more to enjoy. There is not much to translate, but the poetry might require an above average translator.

Dalena Tran’s music video for a song by Ash Koosha evokes a sense of weightlessness and permanent levitation with images, one morphing into the next in slow motion, of various moving creatures. The likenesses of birds, horses, and people—based on real footage—are imbued with a visual quality reminiscent of painting.