《百年巨匠》总撰稿、美术史论家刘传铭表示，汉字乃中华文明之根脉所系，以汉字书写为唯一基因的书法艺术在上世纪东西方文化碰撞的岁月里，首当其冲经历了被抛弃、被颠覆的灾难。然而，书法艺术总是能一次次自我救赎，一次次浴火重生。这不仅彰显了中华文明的不朽生命力，同时也是书法艺术迷人魅力和中国知识分子家国情怀的生动证明。于右任、沙孟海、林散之、赵朴初、沈尹默、启功就是其中的杰出代表。 　　据悉，《百年巨匠》书法篇将聚焦这6位书法大家的艺术人生，预计2015年年底完成拍摄制作。

《百年巨匠》总撰稿、美术史论家刘传铭表示，汉字乃中华文明之根脉所系，以汉字书写为唯一基因的书法艺术在上世纪东西方文化碰撞的岁月里，首当其冲经历了被抛弃、被颠覆的灾难。然而，书法艺术总是能一次次自我救赎，一次次浴火重生。这不仅彰显了中华文明的不朽生命力，同时也是书法艺术迷人魅力和中国知识分子家国情怀的生动证明。于右任、沙孟海、林散之、赵朴初、沈尹默、启功就是其中的杰出代表。 　　据悉，《百年巨匠》书法篇将聚焦这6位书法大家的艺术人生，预计2015年年底完成拍摄制作。

来自柏林的年轻诺拉在服用一种新的派对药物后从昏迷中醒来，并且不再记得任何事情。当调查员尼克·纳瓦尔和大卫·莱昂哈特发现许多青少年因派对毒品“极乐”的传播而失踪时，诺拉开始调查。她揭开了一个离奇的阴谋：外星人利用这种药物，以受害者的尸体为宿主。

At the age of 16, Martha Coolidge was raped by a fellow student. This experience, and in particular the emotions and rhetoric in its aftermath, forms the starting point for this Brechtian film, in which Coolidge re-enacts the event and places the creative process in the foreground. 　　From the beginning, there is a clear distinction between the fictional scenes, in which the acting is deliberately slightly affected, and the documentary sequences, in which the actors discuss their roles and their own experiences. This produces a dialectical film about the gray areas of adolescent sex, and the web of insecurity, ignorance, privilege and performance pressure that can so easily turn into a toxic cocktail. 　　Coolidge further complicates matters in the intense rehearsal scenes, in which it is often not clear to the viewer what agreements have been made and whether they are being adhered to. Thus, these scenes themselves also enter gray areas, confronting the viewer with the ease with which boundaries can be blurred, shifted and crossed when they are not clearly drawn. 　　源自：https://festival.idfa.nl/en/film/ae49286a-02e8-4402-b6c0-5e7fa404c659/not-a-pretty-picture/

"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

At the age of 16, Martha Coolidge was raped by a fellow student. This experience, and in particular the emotions and rhetoric in its aftermath, forms the starting point for this Brechtian film, in which Coolidge re-enacts the event and places the creative process in the foreground. 　　From the beginning, there is a clear distinction between the fictional scenes, in which the acting is deliberately slightly affected, and the documentary sequences, in which the actors discuss their roles and their own experiences. This produces a dialectical film about the gray areas of adolescent sex, and the web of insecurity, ignorance, privilege and performance pressure that can so easily turn into a toxic cocktail. 　　Coolidge further complicates matters in the intense rehearsal scenes, in which it is often not clear to the viewer what agreements have been made and whether they are being adhered to. Thus, these scenes themselves also enter gray areas, confronting the viewer with the ease with which boundaries can be blurred, shifted and crossed when they are not clearly drawn. 　　源自：https://festival.idfa.nl/en/film/ae49286a-02e8-4402-b6c0-5e7fa404c659/not-a-pretty-picture/

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。