自从2008年起，坦桑尼亚的白化病人变成了人体标靶。巫医们为了得到白化病人的身体，用于“神奇药品”的研制而开出了大价钱。从2008到2010的两年间，发生了超过200起的与巫医有关的谋杀案。在坦桑尼亚当地流传着一句话“白化病人并不会死去，他们只是无缘无故地消失了”。影片讲述了阿里亚斯的故事，他是一名逃亡中的白化病患者。阿里亚斯的父亲被杀之后，母亲把他送到了城市，这里住在他的叔叔科斯莫斯。科斯莫斯是一名卡车司机，他好心地收留了阿里亚斯。在城市里，艾利亚斯学到了很多东西，他成为了一名兜售太阳镜、DVD和手机的小商贩。叔叔的女儿安托内特引起了阿里亚斯的爱慕，但两人的关系遭到了科斯莫斯的强烈反对。然而没过多久之后，艾利亚斯就因为他皮肤的颜色而招来了麻烦。

一个发生在伦敦的中年亿万富翁与年轻女子的浪漫故事。

In a small village in Kurdistan, an elementary school teacher sometimes brings an unusual item into the classroom: a large white sheet. The children are used to seeing it appear, stretched over the blackboard, turning the room into something different. But one day, the sheet is suddenly taken away by adults. A few curious pupils follow the trail – only to be confronted with a truth that the older villagers take for granted. The children try to hold on to their small joy and search for another way to restore their shared moment.

在库尔德斯坦的一个小村庄里，一位小学老师有时会把一件不寻常的物品带进教室：一张大白布。孩子们已经习惯了看到它出现，它被拉展开铺在黑板上，让教室变得不一样。但有一天，这块布突然被大人们拿走了。几个好奇的学生顺着踪迹追去，结果却面临着一个……

暂无剧情简介

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

《影子》是埃德加·赖特首次执导的动画片，该片计划于2019年上映！

Synopsis At a crowded airport, Ahlam, a 14-year-old mother, is running away from Baghdad, the only place she’s ever known. As she fights the shadows lurking around her, she reflects on her journey to reclaim her life. Director’s statement I have a recurring nightmare of running from a faceless man. When I plead for help, people ignore me. This reflects the normalisation of violence against women. Recently, a Jordanian woman named Ahlam was murdered by her father. Her name means “dreams,” like the protagonist of Shadows. Our Ahlam is a survivor. I met her while filming a documentary with teenage immigrant girls in Germany. She had run away from her family and wanted to share her story. Exposing Ahlam’s story posed ethical dilemmas, but her strength compelled me. Animation allowed us to recount her past and visualise her subjective point of view. Domestic violence and child marriage are rarely discussed unless tragedies occur. I want Shadows to expose injustices and pay tribute to Ahlam’s courage, highlighting her refusal to let her circumstances define her life’s journey.