1984 PISMAK / WRITE AND FIGHT (screenplay by Wladyslaw Terlecki based on his own novel) - Set in a prison during World War I, the film centers on a journalist who aspires to be a writer and is imprisoned with a safe-robber and a monk. His cellmates appear to him to be the perfect topic for a novel. Critic Jan Slodowki described the film as "a study in isolation told through the three voices of three people condemned to be with each other; among them, the writer, a maturing artist, his gaze fixed on himself, proves the central figure."

1984 PISMAK / WRITE AND FIGHT (screenplay by Wladyslaw Terlecki based on his own novel) - Set in a prison during World War I, the film centers on a journalist who aspires to be a writer and is imprisoned with a safe-robber and a monk. His cellmates appear to him to be the perfect topic for a novel. Critic Jan Slodowki described the film as "a study in isolation told through the three voices of three people condemned to be with each other; among them, the writer, a maturing artist, his gaze fixed on himself, proves the central figure."

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

Historically, the cinema close-up was initially employed to convey emotions through facial expressions. But soon filmmakers also began focusing their attention on hands. Using film extracts, Farocki explores this visual language, it's symbolism, Freudian slips, automatisms and its music. Often, hands betray an emotion which the face tries to dissimulate. They can also function as a conduit (exchanging money) or witness to a form of competence (work).

一位报社编辑每晚会在广播节目中讲一些报纸故事，这次他讲的故事是：一位警探，虽然深爱着妻子和儿子，却和一个交际花有染。一天他俩将车停在偏远的路边，正巧目击了一起谋杀案。警探由于做贼心虚，没有去抓杀人嫌犯，也没有报警。后来，警局让他负责这个案子，她发现他只有自己直面作证，才能抓住杀人嫌犯，也才能不然无辜的人蒙冤。

一位报社编辑每晚会在广播节目中讲一些报纸故事，这次他讲的故事是：一位警探，虽然深爱着妻子和儿子，却和一个交际花有染。一天他俩将车停在偏远的路边，正巧目击了一起谋杀案。警探由于做贼心虚，没有去抓杀人嫌犯，也没有报警。后来，警局让他负责这个案子，她发现他只有自己直面作证，才能抓住杀人嫌犯，也才能不然无辜的人蒙冤。

本片1988年获得奥斯卡最佳动画短片提名。 　　一家普通的公司，普通职员“狼先生”正和同事勤勤恳恳地俯身工作，不敢有一丝松懈，因为哪怕是伸懒腰、喝水等被虎视眈眈一直想用机器代替他们的老板发现，就会被炒掉。可是很快“狼先生”的同事全成了“机器人”。在自己也要被炒掉的一刻，“狼先生”决定夺权。

莫景昇与安然，因父辈恩怨而命运交织。莫景昇囚禁安父复仇，更将安然禁锢。然而，长时间的相处让他们情感微妙转变，恨意渐被深情替代。当安然身陷险境，莫景昇不顾一切救出她，却因此丧命。安然痛失所爱，终明其深沉情感。两人爱恨纠葛，悲剧收场，却成永恒记忆。

coinciding with the 120th anniversary of Vogue, takes a look at some of the world’s most influential fashion images as conceived by the magazine’s iconic fashion editors.

coinciding with the 120th anniversary of Vogue, takes a look at some of the world’s most influential fashion images as conceived by the magazine’s iconic fashion editors.