一位失业的企业高管和一位穿着朴素的工薪阶层女性相遇在一家超市，他们都已结婚且为人父母。两人成为了朋友，但却难以承认彼此可能已经相爱。

至今，德国的博物馆里仍保存着数以万计的前殖民地遗骸。在坦桑尼亚南部，年轻律师约翰·姆巴诺（John Mbano）和他的妻子塞西莉亚（Cesilia）仍在追寻着他们曾祖父的踪迹，其曾祖父的头骨在一百年前被运往德国，用于种族主义者的“科学研究”。坦桑尼亚北部的卡亚（Kaaya）夫妇也面临着相似的情况。在活动人士的协助下，德国外交部收到了他们的诉求，总统施泰因迈尔（Steinmeier）还前往他们的家乡道歉。然而，故土的坟墓依旧空空如也。

女主叛逆的本性颠覆引发了反对族长的血腥起义

理查德·柯蒂斯（Richard Curtis）将担任动画影片《空荡荡的长袜》（The Empty Stocking）的编剧。该片根据柯蒂斯创作的圣诞节系列童书改编，柯蒂斯与彼得·苏特（Peter Souter）共同撰写剧本，锁匠动画（Locksmith Animation）出资制作。原著书籍的故事围绕一个偏远海边小镇的圣诞节展开。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

克劳迪奥，35岁，经理，已经感染艾滋病的十年。他的一生是由他吃药，他每月的体检，他单调的工作，以及他与达里奥长期合作关系显着。但是，当他遇到安德烈，甜美帅气的服务生，他的确定性粉碎。

While working on a film called Cinematic Letters, IFFR stalwart Peter Schreiner was diagnosed with cancer. Although the project was terminated for being logistically too demanding, his desire to make a new film remained. But what can you do when your beloved camera and tripod have become too heavy for you to carry, and setting up even a simple scene is an exhausting ordeal? Tage is not a memoir of Schreiner's battle with his illness – this is merely hinted at, almost obliquely. Schreiner considered his ailing body above all an artistic challenge: What is possible, what can be developed from the set of options and perspectives such a state of being offers? Curiously enough, Tage turned into a variation of his last finished film, Garten (2019): a chamber piece shot almost exclusively in his house, featuring himself and his beloved wife Maria as well as some friends. It is also a return to a cinema of intimacy that he'd last essayed with Kinderfilm (1985). With all of that, Schreiner strove for and reached yet another level of artistic freedom with Tage, for none of his works to date are as light-footed in their movement: pure stream-of-conscious in a diaristic framework – a film as open as Schreiner's restlessly searching soul and endlessly curious heart. 源自：https://iffr.com/en/iffr/2023/films/tage

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.