A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

在二十世纪二三十年代的上海，出身寒微的程亦治，偶然结识了银行家吴知拂，以及他的女儿吴丽姿。自此，就像被一点光芒照亮，点燃了他内心的理想。他辞工商铺，进入钱业，迅速成长，成为钱庄主人黄老板最亲信的人。程亦治与丽姿结为伉俪，却发现，最信任的黄老板一手制造了吴知拂之死，而且还勾结各方势力构建一个庞大的黑金帝国。得知真相的程亦治毅然选择了理想信念和民族大义，离开黄老板。程亦治与丽姿曾为假面夫妻，经历困境终成灵魂伴侣。他们不畏艰难，共创新银行。程亦治以真诚为本，支持民族实业，倾尽全力发出光芒，虽微弱也能照亮些许实业家艰难的前行之路。期间遭到黄老板和日本人多方打击，甚至在最黑暗的岁月里，银行险些落入日本人之手。最终，在地下党的帮助下，程亦治与实业家们团结一致，携手闯关，尽微薄力量利民兴国 。

20世纪20年代的上海，干货店伙计程亦治出身贫寒但头脑聪慧。他进入钱庄后，凭借自身能力一路逆袭，赢得了钱庄大老板黄如虹的赏识。 程亦治在钱业中不断攀升，成为新贵。他偶然结识了落魄银行家之女吴丽姿，两人仅见三次面便决定终身大事，开启了先婚后爱的夫妻生活。与此同时，程亦治和黄如虹的关系逐渐疏远。 后来，程亦治与吴丽姿以及一群有志青年共同创办了励邦银行。他们致力于扶植小微民族实业，坚守理想与正义，成长为“生而不凡、各自有光”的新青年。

光芒》以长治市安监局原局长张巨魁为原型。张巨魁是长治市首届十大道德楷模，在他51岁辞世后，留下的是一个完整的市、县、乡、村、矿五级安全防控网络，以及良好的煤炭安全生产形势；而留给家庭的却是5万多元的医疗费单据、一封尚未寄出的资助困难学生的信和300元资助款。该剧讲述了主人公万长虹和谷雪松在安监生涯中所经历的命运流转、观念碰撞、价值定位和精神走向，以及由此所迸发出的人性光辉。

In the town of lightbulbs, a party for small flames is taking place. This will allow them to grow up and become a part of the system which will protect them and allow them to shine forever. But one flame likes to play with fire and it rebels against the system. 　　源自：https://pulafilmfestival.hr/studentski-program/svjetla/?lang=en

《光芒》是罗查居住在意大利罗马时，与当时的情人法国女演员Juliet Berto和好友意大利先锋戏剧导演Carmelo Bene合作完成的一部纯即兴影片，完全没有剧本，只有一个大概的主题，任由演员在街上随意表演，观众同时也是影片的参与者。 　　《光芒》被认为是罗查所有影片中最即兴也是最实验的一部作品。 　　http://www.tempoglauber.com.br/english/f_claro.html

光芒》以长治市安监局原局长张巨魁为原型。张巨魁是长治市首届十大道德楷模，在他51岁辞世后，留下的是一个完整的市、县、乡、村、矿五级安全防控网络，以及良好的煤炭安全生产形势；而留给家庭的却是5万多元的医疗费单据、一封尚未寄出的资助困难学生的信和300元资助款。该剧讲述了主人公万长虹和谷雪松在安监生涯中所经历的命运流转、观念碰撞、价值定位和精神走向，以及由此所迸发出的人性光辉。

因一个美丽的谎言，婚礼摄影师Koch踏上了制作有关意第绪语传统“克里兹莫”音乐纪录片的旅程。这个项目带领Koch穿越整个东欧，拼凑失落的犹太音乐遗产的碎片。本片入围第73届柏林电影节“遇见”单元最佳影片奖项，并荣获最佳首作奖。