Confronting half of her mother’s life—her mother who had survived the Jeju April 3 Incident—the director tries to scoop out disappearing memories. A tale of family, which carries on from Dear Pyongyang (YIDFF 2005), carving out the cruelty of history, and questioning the precarious existence of the nation-state.

電影《變態者意識形態指南》是由斯洛文尼亞的哲學家、拉康精神分析專家斯拉沃熱‧齊澤克編寫劇本及主演、由蘇菲‧費因斯(Sophie Fiennes)執導。如齊澤克的另一部《變態者電影指南》一樣，它透過穿梭於著名的電影場景之間來勾勒出一個理解藝術和世界的精神分析理論框架，是某種意義下一部「紀錄片」。

What is a revolutionary? The writings of Marx and Engels both use the metaphor of revolution as the "locomotive of history". Is, then, the revolutionary a standard bearer of progress, a pace setter, a frontrunner? 　　None of the above, because in a world ruled by a turbo "devaluation" where only the new has market value, where commodity production spirals out of control, the "train of time" is a deadly trend. Alexander Kluge instead opts for Walter Benjamin's idea of the revolution as mankind "pulling the emergency brake". We must hold up the torch of reason to the problems at hand, and the true revolutionary is therefore the one who can unite future and past, merging two times, two societies, the artist who montages stories and history. And so we come to Alexander Kluge and his art. 　　Kluge's monumental "News from Ideological Antiquity. Marx – Eisenstein – Das Kapital" is a 570-minute film available only on DVD which is based on the work of two other montage artists, James Joyce and Sergei Eisenstein. These two met in 1929 to discuss filming Marx's "Kapital" which had been written 60 years beforehand. Now, eighty years on, Alexander Kluge joins the party and takes up where Eisenstein failed, because neither Hollywood's capitalists nor Moscow's Communists were prepared to send the necessary funds his way. 　　Most of the film consists of involved discussions between Alexander Kluge and other Marx-savvy writers and artists. Poet and essayist Hans Magnus Enzensberger compares the soul of man with the soul of money, author Dietmar Dath explains the meaning of the hammer and sickle on the Soviet flag and, from the standpoint of the Stoics, leaps (rather than marches at an orderly pace) into industrialisation, the actress Sophie Rois makes an impassioned appeal for Medea, differentiating between additive and subtractive love, filmmaker Werner Schroeter stages a Wagner opera featuring the "rebirth of Tristan in the spirit of battleship Potemkin", philosopher Peter Sloterdijk talks about Ovid and the metamorphosis of added value, a man at the piano analyses the score of a strike song while workers and factory owners face off in an opera by Luigi Nono, the poet Dürs Grünbein interprets Bert Brecht's aesthetisation of the Communist manifesto in swinging oceanic hexameter, cultural scientist Rainer Stollmann emphasises the myriad meanings of Marx's writings as science, art, story telling, philosophy, poetry. And social theorist and philosopher Oskar Negt looks sceptical when asked whether it's possible to find the right images for all this stuff when you're less interested in pedagogical content than the encompassing theory. 　　Scholarly stuff, wide and deep in scope, yet bold and playful. But even if your own study of Marx is no more than a faded memory, it is hugely enjoyable to watch and listen to these experts as their "thinking gradually deepens through talking" and to watch Kluge interject, hopping adroitly from one thought to the next, surprising his interlocutors, catching them off balance, sending them off on new trajectories. We never know how much agreement and variance is hidden in Kluge's objections. His a Socratic approach to questioning, curious, open to everything, and so wonderfully subtle that at the end always find yourself wondering whether he had been driving at a particular target all along. Alexander Kluge is a great manipulator, an industrious loom, who weaves the most far-flung observations into his system. 　　He is not filming "Das Kapital" but researching how one might find images to make Marx's book filmable. The quest is the way is the destination. The model for his underlying structure is Joyce's "Ulysses" where the entire history of the world is packed into a day in the life of his hero, Bloom. In Kluge's hands this becomes a collage of documentary, essayistic and fictional scenes, interviews and still photos, archive images of smoking factory chimneys, time-lapse footage of pounding machines and mountains of products, diary entries and blackboards scribbled with quotes referencing constructivism and concrete poetry. 　　Coincidences, collisions. Back to back with a short film in which director Tom Tykwer stirs things up in a Berlin street, two readers struggle to recite the following sentence, slipping in and out of synch with increasing desperation: "Whenever real, corporeal man, man with his feet firmly on the solid ground, man exhaling and inhaling all the forces of nature, posits his real, objective essential powers as alien objects by his externalisation, it is not the act of positing which is the subject in this process: it is the subjectivity of objective essential powers, whose action, therefore, must also be something objective." 　　No sooner are we shown "how the history of industry and the established objective existence of industry are the open book of man's essential powers, the perceptibly existing human psychology" than we have the history of capitalism is explained to us as a giant extension of the fairytale about the devil with the three golden hairs – every thing is a human being being cast under a spell. And the beginning of Mae West's film career runs parallel to the leap into industrialisation – a form of aesthetic slapstick in which not cream pies fly through the air but ideas and concepts. 　　Unlike Eisenstein, who was driven to desperation by the herculean task of cutting the 29 hours of "October" into a 90-minute film version and turned to drugs into the process which left him temporarily blind, Kluge cooly sticks to his guns and his nine hours. And it's not a minute too long. 　　(This article was originally published in Tagesspiegel on 8 January 2009. Helmut Merker is a film critic.)

当一切的一切已经过去了七十年，当一切繁花似锦已经如尘烟般消散，我们唯一能记得的，就是在那个风雨飘摇战火连连的时代，有着一段凄美动人的爱情故事…… 　　上海滩商界大亨沈牧之突然离奇死亡，留下巨额的遗产和扑朔迷离的宝藏传说，多方势力剑拨弩张，让一场纷争似乎在所难免…… 　　失踪三年的大少爷沈书豪忽然回归，力挽狂澜，帮有名无实的妻子尚婉婷洗脱了嫌疑，粉碎了堂兄沈悦篡夺家产的阴谋，隐忍多年的沈悦不甘屈居人下，风流倜傥的外表难掩他野心勃勃的内心。然而，阻挡沈悦的并不是真正的沈书豪，他的名字叫周定一。 　　世界上最遥远的距离不是生与死，而是周定一站在曾经的爱人何木兰面前，何木兰却以为他是沈书豪…… 　　世界上最漫长的磨难，不是玄奘西行，而是父亲的遗言是让柔弱的何木兰为他报仇，与沈书豪为敌……种种折磨让芙蓉般的何木兰变得心狠手辣，不择手段。她爱的人离她远去，而深爱着她的沈悦，她却一直没有珍惜。 　　世界上最让人寂寞的不是对影自怜，而是沈悦一直陪在何木兰的身边，无数次地叩响她的心门，何木兰却对他冷若冰霜。 　　世界上最可悲的不是爱人失踪，而是一切谜题解开后，何木兰却发现心中的爱人已经恋上了别的女人……她就是尚婉婷。 　　尚婉婷嫁入沈家，只为豪门遗产，却被沈书豪的处事魅力所折服，被沈书豪的用情之深所打动，渐渐爱上了他。 　　世界上最残酷的爱情，不是生离死别，而是为了所爱的人，背叛自己亲日涉黑的家族，改变自己贪婪狠毒的本性，这一点尚婉婷认准了，就不曾回头…… 　　世事变幻，沈悦为爱奋不顾身，无怨无悔；沈书豪最终平定黑帮，扫荡日寇，在一二八事变之时找到了宝藏。看似一切尘埃落地，可是爱情在历史和人性的动荡面前却仍然让人不可捉摸，重拾自我的沈书豪能否放下曾经恋恋不舍的何木兰……为爱执着的尚婉婷能否跟沈书豪修成正果……一切敬请期待。

A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.

“I envy the Japanese.” 　　如果梵谷幾曾造夢，夢中的境地必定是日本，那個他從沒去過，卻影響著他畢生畫風的亞洲國度。 　　梵高在前往法國南部阿爾勒的火車旅途中，一邊留意窗外的光景，一邊寫信給高更：「看看『是不是已經有點像日本了』很幼稚，對吧！」梵高充滿著遺憾的一生，亦幾曾充滿希冀地渴求著外國的風情，稚氣地試圖由身邊的日常光景找尋東方色彩。他收藏了數百幅日本版畫，臨摹過當中不少的作品，可惜他卻沒法等到自己作品流傳日本，得到東方世界賞識的一天⋯…導演這次走訪阿姆斯特丹的梵高藝術館、法國及日本揭開來自東方的紗幕，與你投身梵高的日本夢，遊走在浮世繪與木刻版畫之間，等待星夜的到來。也許在日本夢中，梵高繃緊的精神終能得到剎那的平靜。

《1965》以上世纪60年代为背景，把新加坡人经历的社会动荡、种族分歧以及独立建国等大事件搬上银幕。

70年安保反対戦争・学園紛争に揺れる日本を、藤田繁矢をはじめとする若手監督が撮り上げたドキュメンタリー。だが幾多の困難を乗り越えて完成した本篇は、当時その影響を考えて公開が見送られていた。34年ぶりに幻の映像が蘇る。

Diggin' in the Carts highlights the composers and influence of Japanese video game music