不能安心养老的社会，不能安心死去的社会，人与人之间失去牵绊，日本现在已经进入了一个叫做“无缘社会”的时代。 　　日本自杀率在发达国家高居第二，但这些年来，警察们连姓名也查不出的不明尸体，正在逐渐增多。默默死去不为人知，甚至连收尸者都没有。“无缘死” ，是对死亡原因的一种新称呼。 　　NHK对全国共1783家所有的地方公共团体进行了独自调查，没人领取，由地方公共团体自行火化与埋葬的数字被统计出来了。结果，首次知道了在前年的一年时间里，就有三万两千人“无缘”死去。 　　这之中，我们所关注的是无缘死中所占比例很大的单身者。与家庭和社会失去联系孤立生存着的人们，至今还在“被遗弃”中生活。 　　我们来对这种现象进行深层探究，直击将本应重于泰山的“生命”视若鸿毛的日本，并重新思考社会的应有形态——

不能安心养老的社会，不能安心死去的社会，人与人之间失去牵绊，日本现在已经进入了一个叫做“无缘社会”的时代。 　　日本自杀率在发达国家高居第二，但这些年来，警察们连姓名也查不出的不明尸体，正在逐渐增多。默默死去不为人知，甚至连收尸者都没有。“无缘死” ，是对死亡原因的一种新称呼。 　　NHK对全国共1783家所有的地方公共团体进行了独自调查，没人领取，由地方公共团体自行火化与埋葬的数字被统计出来了。结果，首次知道了在前年的一年时间里，就有三万两千人“无缘”死去。 　　这之中，我们所关注的是无缘死中所占比例很大的单身者。与家庭和社会失去联系孤立生存着的人们，至今还在“被遗弃”中生活。 　　我们来对这种现象进行深层探究，直击将本应重于泰山的“生命”视若鸿毛的日本，并重新思考社会的应有形态——

Johnny Depp pays a visit to Ralph Steadman, the renown artist and the last of the original Gonzo visionaries who worked alongside Hunter S. [email protected]

Johnny Depp pays a visit to Ralph Steadman, the renown artist and the last of the original Gonzo visionaries who worked alongside Hunter S. [email protected]

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?