阿米尔和阿纳斯两兄弟很喜欢鸽子，他们的家位于巴勒斯坦古城希伯伦。两人会花很多时间，在自家屋顶上抓鸽子。鸟儿可以自由地飞翔，但兄弟俩的一举一动都被隔壁的以色列定居者和在屋顶站岗的以军士兵严密地监视着。马尔万的家对面就是一个大型以色列定居点。他每天回家都要经过士兵把守的检查站。马尔万有自己的主张，他拿起相机，记录周遭的冲突，来抵抗以方侵犯人权的行径。男孩们能否脱离困境？本片历时五年拍摄，见证了这群希伯伦少年应对挑战、心怀希望的艰辛历程。

阿米尔和阿纳斯两兄弟很喜欢鸽子，他们的家位于巴勒斯坦古城希伯伦。两人会花很多时间，在自家屋顶上抓鸽子。鸟儿可以自由地飞翔，但兄弟俩的一举一动都被隔壁的以色列定居者和在屋顶站岗的以军士兵严密地监视着。马尔万的家对面就是一个大型以色列定居点。他每天回家都要经过士兵把守的检查站。马尔万有自己的主张，他拿起相机，记录周遭的冲突，来抵抗以方侵犯人权的行径。男孩们能否脱离困境？本片历时五年拍摄，见证了这群希伯伦少年应对挑战、心怀希望的艰辛历程。

This extraordinary picture does not fit into any genre. It is a freak of nature, a acinematic oddity like no other. It took considerable bravery and imaginatio, or perhaps a bliss of ignorance as to the implication of one's actions (common to the artists), to make a film in which for the most part people recite the alphabet. The primer symbolises a key to the people communicate and perceive the world and traditions. The film is premeated with ugliness and lifelessness, which are extraordinary lit and beautifully captured by Jerzy Zielinski's camera. Tradition is dead, communication between people has become ossified in its banal formats, we all know the letters of the alphabet but cannot put them into sentences which would express out true selves.

This extraordinary picture does not fit into any genre. It is a freak of nature, a acinematic oddity like no other. It took considerable bravery and imaginatio, or perhaps a bliss of ignorance as to the implication of one's actions (common to the artists), to make a film in which for the most part people recite the alphabet. The primer symbolises a key to the people communicate and perceive the world and traditions. The film is premeated with ugliness and lifelessness, which are extraordinary lit and beautifully captured by Jerzy Zielinski's camera. Tradition is dead, communication between people has become ossified in its banal formats, we all know the letters of the alphabet but cannot put them into sentences which would express out true selves.

昭和中期、日本がまだ夢見ていた頃、街から街へと人々を楽しませて回る「三日月サーカス」という小さなサーカス団があった。そこには仁太と渡という空中ブランコに憧れる兄弟がいた。しかし、不慮の事故により足を傷めた仁太は、夢がかなわぬままサーカス団を去ってしまう。

昭和中期、日本がまだ夢見ていた頃、街から街へと人々を楽しませて回る「三日月サーカス」という小さなサーカス団があった。そこには仁太と渡という空中ブランコに憧れる兄弟がいた。しかし、不慮の事故により足を傷めた仁太は、夢がかなわぬままサーカス団を去ってしまう。