飘雪的森林中，肃杀寒冷的世界，一头饿狼叼走了猎人家的幼狼标本。那可能是她的孩子，却在不久前不幸被人杀害，从而永远定格着没有生命的笑容。猎人听到了动静追出门外，母狼则毫不犹豫地叼着标本跑入森林深处。猎人十分气愤，他提着猎枪追了过去。在森林中央，母狼的双眼放出慈悲的光芒，她亲昵地爱抚宝贝，渴望能将其从永恒的睡眠中唤醒。而就在此时，猎人追杀前来，和恶狼对峙。双方发生激烈的格斗，只为了争夺幼狼标本。 　　即使只是野生动物，母爱仍可使她变得无比坚强，即使丢掉性命也在所不惜……

飘雪的森林中，肃杀寒冷的世界，一头饿狼叼走了猎人家的幼狼标本。那可能是她的孩子，却在不久前不幸被人杀害，从而永远定格着没有生命的笑容。猎人听到了动静追出门外，母狼则毫不犹豫地叼着标本跑入森林深处。猎人十分气愤，他提着猎枪追了过去。在森林中央，母狼的双眼放出慈悲的光芒，她亲昵地爱抚宝贝，渴望能将其从永恒的睡眠中唤醒。而就在此时，猎人追杀前来，和恶狼对峙。双方发生激烈的格斗，只为了争夺幼狼标本。 　　即使只是野生动物，母爱仍可使她变得无比坚强，即使丢掉性命也在所不惜……

影片由凯特·贝金赛尔主演，一位母亲与她的儿子在乡下的新宅遭遇的恐怖事件，号称真实事件改编。

Life begins on the other side of despair.

Life begins on the other side of despair.

影片主要讲述了一群士兵在僵尸爆发期间被命令守住一座桥，然而桥下的生物却被证明更加致命。

一家三口从纷繁的大都市里搬到了宁静的郊外，妻子达娜（凯特·贝金赛尔饰）和丈夫大卫（梅尔·耐多饰）以及他们五岁的儿子卢卡斯（邓肯·乔伊纳饰）…

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

In 2005, a troubadour walks through St. Francisco of Assis' birth town, singing and playing his Canticle of all creatures. In 1212, we follow St. Francisco of Assis.