《电影沙皇的秘密纪事》通过首度公开的访谈、日记、家庭影像及宣传影片，追溯荷兰电影人扬·托伊尼森（1898-1975）的浮沉人生。 　　出身显赫的托伊尼森得以在青年时期就追逐电影梦想。二战期间他执掌荷兰电影业牛耳，身兼党卫队与荷兰国家社会主义运动（NSB）电影部门负责人，获称"电影沙皇"与"荷兰版莱妮·里芬施塔尔"。战后虽遭起诉惩处，仍自诩精明且与纳粹高层交情匪浅。 　　这部纪录片既勾勒出人物肖像与行为动机，又以失控的野心与影像操控力叩问纪录片与宣传的边界，揭示宣传家如何通过图像、叙事、虚假信息与意识形态构建认知牢笼。

《电影沙皇的秘密纪事》通过首度公开的访谈、日记、家庭影像及宣传影片，追溯荷兰电影人扬·托伊尼森（1898-1975）的浮沉人生。 　　出身显赫的托伊尼森得以在青年时期就追逐电影梦想。二战期间他执掌荷兰电影业牛耳，身兼党卫队与荷兰国家社会主义运动（NSB）电影部门负责人，获称"电影沙皇"与"荷兰版莱妮·里芬施塔尔"。战后虽遭起诉惩处，仍自诩精明且与纳粹高层交情匪浅。 　　这部纪录片既勾勒出人物肖像与行为动机，又以失控的野心与影像操控力叩问纪录片与宣传的边界，揭示宣传家如何通过图像、叙事、虚假信息与意识形态构建认知牢笼。

The Longest Most Meaningless Movie in the World is an underground movie made in the UK that runs to 48 hours long. No actual footage was shot for the project, which instead consists entirely of outtakes, commercials, strips of undeveloped film, academy leader, and other filmic castoff material, creating a seemingly endless stream of newsreel and stock footage. Some portions of the film consist of the same commercial, repeated over and over again, for more than half an hour. Strips of 35mm still picture film are also included in the film; at times, the images are run upside down, and in reverse. 　　The film was produced by Anthony Scott in association with the Swiss Film Centre, London. The first public screening of the film took place at The New Arts Lab in Drury Lane, London, in the Summer of 1968. It was also screened in 1969 at Cybervironment Plus, an experimental arts festival organised by Simon Chapman, and at the La Cinémathèque française in October 1970. 　　Once the longest film ever made, it now holds the number four spot behind Cinématon (2010), which runs for 152 hours, Matrjoschka (2006), which runs for 95 hours, and The Cure for Insomnia (1987), which runs for 87 hours.

该剧是一部描绘家族和结婚的笑中带泪的喜剧作品，香取在剧中饰演在文具制造公司工作的39岁单身男大介，对独身生活无任何不满，上野树里则饰演离过一次婚的32岁单身女熊谷，住在同一栋公寓的两人从见面起就争吵不段

该剧是一部描绘家族和结婚的笑中带泪的喜剧作品，香取在剧中饰演在文具制造公司工作的39岁单身男大介，对独身生活无任何不满，上野树里则饰演离过一次婚的32岁单身女熊谷，住在同一栋公寓的两人从见面起就争吵不段

当天分手，他和她各行各路。十四个寒暑之后，大家已忘了离别的过程。记忆，是如此不可靠；遗忘，保护了要守卫的心灵价值，但也为重塑和修补创造了条件。从旧侣的真实访问开始，彼此错摸的思絮掀动了层层叠叠的图像，记忆之浪随而翻起，同时催生下一波图像。冰湖、船坞、森林、美术馆⋯⋯地域此去彼来，留下的足迹掺杂矛盾的线索。翻开无言的诗篇，乃觉你中有我，我中有你。遗忘并非记忆的对立，而是相反，没有遗忘的记忆，遗忘只是记忆其中一种方式。

当天分手，他和她各行各路。十四个寒暑之后，大家已忘了离别的过程。记忆，是如此不可靠；遗忘，保护了要守卫的心灵价值，但也为重塑和修补创造了条件。从旧侣的真实访问开始，彼此错摸的思絮掀动了层层叠叠的图像，记忆之浪随而翻起，同时催生下一波图像。冰湖、船坞、森林、美术馆⋯⋯地域此去彼来，留下的足迹掺杂矛盾的线索。翻开无言的诗篇，乃觉你中有我，我中有你。遗忘并非记忆的对立，而是相反，没有遗忘的记忆，遗忘只是记忆其中一种方式。

An inside look at the making of the movie Star Wars: Episode VII - The Force Awakens (2015), featuring footage and exclusive interviews with the actors and filmmakers.

An inside look at the making of the movie Star Wars: Episode VII - The Force Awakens (2015), featuring footage and exclusive interviews with the actors and filmmakers.

"Das Kino und der Tod/Cinema and Death"(1988), is one of his 'Cinema Anthology' ,which was made by extraordinary Bitomsky's voice and movement of his hands that turn over photos of murder in films.It's 'a film noir as a film essay which analyzes film noir'. When he analyzes classic films like Hitchkock's "Torn Curtain",Lang's "Hangmen also die", Siegel's "The Killers",Aldrich's "Kiss me deadly",etc, each viewer tries to remake the images that always becomes uncertain in the memory,with the movement of Bitomsky's hands and voice as a detective showing photos of evidence of murders. There is an astonishing moment of new discovery of the image which we remember as a movement of the film.