父親過世、母親離家的土豆，與親人關係疏離，甫成年便投入社會。在搬金紙、噴農藥，甚至是遊走法律邊緣的謀生方式間，土豆與友人們也曾躁動想望、期盼翻轉，但不停離散與流動的生命旅程，卻讓他們沒有機會停歇與改變。有時像大人，有時又像小孩的他們，可有機會停止複製這樣的人生？

父親過世、母親離家的土豆，與親人關係疏離，甫成年便投入社會。在搬金紙、噴農藥，甚至是遊走法律邊緣的謀生方式間，土豆與友人們也曾躁動想望、期盼翻轉，但不停離散與流動的生命旅程，卻讓他們沒有機會停歇與改變。有時像大人，有時又像小孩的他們，可有機會停止複製這樣的人生？

Five women are running an old hotel and trying to save it from inexorable decay. Guests arrive over the course of a weekend: a couple bears the wounds of a long-term misunderstanding; a domineering mother interferes in her daughter’s relationship; two girls try to save their own love story in the face of opposition from a possessive mother. Viver Mal is the reverse shot of Mal Viver, which is screening in the Competition: here, João Canijo reveals everything that was floating in the depth of field in this film’s mirror image. Reality becomes the intertwining and multiplication of different points of view; the intersection between what can be seen and what the eye misses. Like a play of light reflections, Viver Mal is Mal Viver in another dimension. The image is distorted, but at the same time seeks a new definition by relaunching itself into infinity.

Five women are running an old hotel and trying to save it from inexorable decay. Guests arrive over the course of a weekend: a couple bears the wounds of a long-term misunderstanding; a domineering mother interferes in her daughter’s relationship; two girls try to save their own love story in the face of opposition from a possessive mother. Viver Mal is the reverse shot of Mal Viver, which is screening in the Competition: here, João Canijo reveals everything that was floating in the depth of field in this film’s mirror image. Reality becomes the intertwining and multiplication of different points of view; the intersection between what can be seen and what the eye misses. Like a play of light reflections, Viver Mal is Mal Viver in another dimension. The image is distorted, but at the same time seeks a new definition by relaunching itself into infinity.

在葡萄牙的北岸，五个不同世代的女人正共同努力经营着她们的家族酒店，试图将它从一个无可避免的衰败中解救出来。与此同时，这个家庭深陷在一个长久无法解决的矛盾之中：她们都学不会爱自己的女儿，也因此她们都不懂要如何当一个母亲。外孙女Salomé（Madalena Almeida 饰）的突然到来搅乱了整个局面，所有的旧伤口都被撕开，潜在与沉积的怨恨都浮出了水面。于是，她的母亲Piedade（Anabela Moreira饰）作出了一个非常大胆的决定。 　　本作讲述的是酒店经营者一家的故事，入围第73届柏林电影节主竞赛单元。其姊妹电影《Viver Mal》则是聚焦于到访酒店的客人，入围同一届的奇遇单元。

在葡萄牙的北岸，五个不同世代的女人正共同努力经营着她们的家族酒店，试图将它从一个无可避免的衰败中解救出来。与此同时，这个家庭深陷在一个长久无法解决的矛盾之中：她们都学不会爱自己的女儿，也因此她们都不懂要如何当一个母亲。外孙女Salomé（Madalena Almeida 饰）的突然到来搅乱了整个局面，所有的旧伤口都被撕开，潜在与沉积的怨恨都浮出了水面。于是，她的母亲Piedade（Anabela Moreira饰）作出了一个非常大胆的决定。 　　本作讲述的是酒店经营者一家的故事，入围第73届柏林电影节主竞赛单元。其姊妹电影《Viver Mal》则是聚焦于到访酒店的客人，入围同一届的奇遇单元。

Akerman's Toute une nuit is a collection of vignettes depicting the fancies and dramatic moments of a number of people throughout one summer night. The film has little dialogue and relies on a remarkable series of contrasts for effect: a sultry night of deep, often painful depictions of passion visualized in a stark and grainy manner against the backdrop of a spiritless, bland Brussels. 　　被认为是仅次于让娜 迪尔曼的该导演另一部杰作

Akerman's Toute une nuit is a collection of vignettes depicting the fancies and dramatic moments of a number of people throughout one summer night. The film has little dialogue and relies on a remarkable series of contrasts for effect: a sultry night of deep, often painful depictions of passion visualized in a stark and grainy manner against the backdrop of a spiritless, bland Brussels. 　　被认为是仅次于让娜 迪尔曼的该导演另一部杰作

Candice卑尔根和吉安卡洛贾尼尼明星作为两个来自完全不同的世界谁爱上了一个充满雨的夜晚的人。当浪漫的意大利记者保罗（贾尼尼）拯救美国摄影师丽（卑尔根）从意大利村混战，他在爱情没有结果的努力。但当他们再次在三藩见面，保罗也成功拉拢萃。现在，他们的爱克服了传统的意大利共产党和现代之间的差异，解放了美国的女人，扬言要拆分开？

Mudhoney (sometimes Mud Honey) is a 1965 film by Russ Meyer based on the novel by Raymond Friday Locke. It would be the inspiration for the name of pioneering Seattle grunge band Mudhoney when they formed in 1988.