Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

Filmed with a Bolex camera, Unstable Rocks offers a meditative exploration of the Portuguese landscape, where geology, animals, and human presence seamlessly merge. Shifting between black and white and colour, the film lingers on rocks, animals, religious imagery, and quiet, everyday moments. The rhythmic pace invites contemplation of time, the landscape, and the subtle traces left behind by both human presence and the natural world.

地球有释放极端灾害的能力，火山、地震、飓风和洪水都有着极大的破坏力。我们也许认为已经见过大自然母亲最无情的一面了，但随着科学家的进一步探索，我们发现过去有着更极端的灾害事件。火山的威力足以杀死数百万人，使建筑土崩瓦解。飓风在温暖的海面上积聚力量，能够跨越数百公里，成为了“死亡”和“毁灭”的代名词。水是生命之源，但水也拥有毁灭的力量，那种力量叫——洪水。这些强大的急流每年可夺走大约两万五千人的生命。但这还不是最可怕的，据说在久远的年代，大自然显示过更大的威力。

Picture three places. 1. A workshop in Germany where we follow the making of a prosthetic hand. 2. A traditional glove-making workshop in Millau, in the south of France. 3. A jeans factory in Istanbul, illustrating large-scale industrial production. A succession of three workplaces, but with a common viewpoint and subject: the relationship between the hand and the machine, the work and the material, all of them patiently and rigorously observed. Daniel Eisenberg scrutinises these interactions and gestures meticulously, and he pays close attention to each action involved and to the time required for each operation, from the starting point to the finished forms. With this film, Eisenberg continues the work he started with his previous one, The Unstable Object (FID 2011), in which he also used a triangular structure to compare the work in a high-tech car factory in Dresden, then in an antiquated clock repair shop in Chicago, and finally in a cymbal factory in Istanbul. From one production site to the next, the film focuses on hands, bodies, images: reconstructed bodies, modelled bodies, dressed bodies. And on the social body as well – either collective bodies at work, or their images, shaped by the very objects which are being produced. The patience of an attentive camera and the fascinating rhythm of this choreography let the gestures fully unfold. The geography of production modes also shapes the story it underlies, like the globalisation of exchanges. And what is also paramount here is that the time it takes to make the objects seems to mirror the experience of the viewer watching the film, like an echo between absorbed gazes, theirs like ours. A nice piece of actual work from the gaze and the mind about the ever so unstable object that is work. 　　源自：https://fidmarseille.org/en/film/the-unstable-object-ii/

朱利安（弗朗索瓦-格扎维埃·德梅松 François-Xavier Demaison 饰）是一名婚姻顾问，专门帮助婚姻生活遭遇困难的夫妻们重修旧好，照理说，能够帮助别人解决情感问的人，自己的感情生活一定多姿多彩，但这道理放在朱利安身上行不通，私下里，朱利安的感情生活一片混乱，虽然有过几段恋爱，但这些恋情统统都没能超过半个月，因为无论是谁和他在一起，都仿佛是被传染上了什么倒霉病一样，霉运连连。 　　一天，朱利安邂逅了名叫乔安娜（维吉妮·艾菲拉 Virginie Efira 饰）的女子，开朗热情的乔安娜很快就吸引了朱利安的注意，两人很快就坠入了情网。这一次，乔安娜是否能够抵抗朱利安所带来的霉运呢？

朱利安（弗朗索瓦-格扎维埃·德梅松 François-Xavier Demaison 饰）是一名婚姻顾问，专门帮助婚姻生活遭遇困难的夫妻们重修旧好，照理说，能够帮助别人解决情感问的人，自己的感情生活一定多姿多彩，但这道理放在朱利安身上行不通，私下里，朱利安的感情生活一片混乱，虽然有过几段恋爱，但这些恋情统统都没能超过半个月，因为无论是谁和他在一起，都仿佛是被传染上了什么倒霉病一样，霉运连连。 　　一天，朱利安邂逅了名叫乔安娜（维吉妮·艾菲拉 Virginie Efira 饰）的女子，开朗热情的乔安娜很快就吸引了朱利安的注意，两人很快就坠入了情网。这一次，乔安娜是否能够抵抗朱利安所带来的霉运呢？

30岁的安雅是一个受过教育且聪明的女孩。她有成功的职业和一个庞大的朋友圈。丈夫的惨死并没有让她心碎，反而让她重新思考自己的人生，走得更远。她并不急于建立新的关系，而是自由独立地建立自己的生活，直到她遇到一个新的被选择者。安雅受到了来自他的蓄意操纵，并意识到她生活中不健康关系的循环不是偶然的

30岁的安雅是一个受过教育且聪明的女孩。她有成功的职业和一个庞大的朋友圈。丈夫的惨死并没有让她心碎，反而让她重新思考自己的人生，走得更远。她并不急于建立新的关系，而是自由独立地建立自己的生活，直到她遇到一个新的被选择者。安雅受到了来自他的蓄意操纵，并意识到她生活中不健康关系的循环不是偶然的

商务人士劳伦拥有着幸福的家庭，某天的一系列遭遇改变了他的生活：房子被毁，公司遭遇财务危机，妻子背叛，儿子丢失。还有妻子等人对他的各项指控。就在他将要锒铛入狱时，哥哥发来了一段视频。

商务人士劳伦拥有着幸福的家庭，某天的一系列遭遇改变了他的生活：房子被毁，公司遭遇财务危机，妻子背叛，儿子丢失。还有妻子等人对他的各项指控。就在他将要锒铛入狱时，哥哥发来了一段视频。