Cundo emigrated to Argentina to seek a new life. Ten years later he returns home, to the funeral of an old friend, Suso. The film chronicles the reunion with family and friends and how Cundo wants to fulfill the ultimate dream of Suso. The film is a tribute to friendship. And above all friendship in a age where it is not so clear why you should remain friends with your childhood friends.

为纪念日本著名艺术家冈本太郎诞生100周年，NHK特别制作了电视剧《TARO塔》，讲述这位艺术大师的生涯故事。该剧剧本由执导电影《强风吹拂》的大森寿美男执笔，演员松尾铃木饰演冈本太郎，女星常盘贵子则饰演冈本敏子，她看似是冈本太郎的妻子，实则与他并无婚姻关系，后来还成了冈本的养女。1970年，冈本太郎在日本大阪世博会上展示了具有象征意义的雕塑作品“太阳之塔”。本剧围绕“太阳之塔”创作前的故事展开，展现以冈本太郎为中心的冈本家人奇异的人生状态。电视剧于12月2日开机，12月中旬会在巴黎进行约一周的外景拍摄，明年1 - 2月中旬将在大阪世博公园拍摄。

在一个景色秀丽的山坳，居住着两百多名未成年的孩子。他们多是令学校和家长头痛的问题儿童，因此被送到这里接受教育和感化。不过，与那些冷冰冰的少管所不同，这里的师长注重对孩子们动手技能和德智培养，孩子们由各自的“爸爸妈妈”管理，与兄弟姐妹们住在一起，学习各种各样的技能，为将来走上社会做着不懈的努力。这一天，娇生惯养的多美子（野村有為子 饰）来到了这里，但是她始终无法适应周遭，不仅和妈妈、姐妹们矛盾不断，还伙同男宿的善雄（横山準 饰）等人逃跑。春去冬来，寄宿学校发生了许多有趣的事情，这群顽劣孩子的心中也悄悄发生着变化…… 本片根据熊野隆治和丰岛吉雄的原著改编。

10 min

17岁的卡萝塔与帅气的Oriol相恋，却把第一次给了乖乖仔Sergio。现在她的死党Elisa同Mirea全都帮不了她。至于Elisa，她把自己化妆装成男孩接近暗恋已久的Lucas，Mirea则试图背着她的好友引诱Oriol。

Fanta, a 14-year-old Guinean contortionist, juggles between care for her ill mom, school and what she loves the most – training as one of the only girls in an acrobatic group. Trying to bridge all expectations, Fanta starts to doubt what it is she really wants.

A classic underground film with no discernible plot, divided into three parts, "The Opium Dream", "Shaman", and "Heavenly Blue Mylar Pavilions", by poet Ira Cohen, the originator of mylar photography.

该片讲述塔卢拉从一位不负责任的母亲那里偷得婴儿后，当起假妈妈。佩吉饰演的塔卢拉无家可归，吃睡住皆在一辆货车上。而在华盛顿广场公园的戏份中，佩吉开始溺爱地照顾窃来的婴儿。

The exact details of what took place while Talib Ben Hassi, 19, was in police custody remain unclear. Police officers Jens and Mike are on routine patrol in Svalegården’s ghetto when news of Talib’s death comes in over the radio, igniting uncontrollable pent-up rage in the ghetto’s youth who lust for revenge. Suddenly, the two officers find themselves in a fair game and must fight tooth and claw to find a way out.

“In The Black Tower we enter the world of a man haunted by a tower which, he believes, is following him around London. While the character of the central protagonist is indicated only by a narrative voice-over which takes us from unease to breakdown to mysterious death, the images, meticulously controlled and articulated, deliver a series of colour coded puzzles, jokes and puns which pull the viewer into a mind-teasing engagement. Smith’s assurance and skill as a filmmaker undercuts the notion of the avant-garde as dry, unprofessional and dull and in The Black Tower we have an example of a film which plays with the emotions as well as the language of film.” ----Nik Houghton, Independent Media 1987