人们都说，母亲是孩子生命中不可或缺的一部分，她们赋予了孩子们生命，也在孩子的成长给他们以无微不至的爱与关怀,而父亲，往往是以一个严厉的形象存在，往往是孩子幼年时期的偶像。那么，在生物学意义上，父亲这个角色会对孩子的成长起到什么作用呢？他们仅仅是母亲的替补？还是有其真正意义的所在？鉴于父亲节即将到来，让我们一起来认识一下，父亲对于孩子们成长的重大意义吧~！

人们都说，母亲是孩子生命中不可或缺的一部分，她们赋予了孩子们生命，也在孩子的成长给他们以无微不至的爱与关怀,而父亲，往往是以一个严厉的形象存在，往往是孩子幼年时期的偶像。那么，在生物学意义上，父亲这个角色会对孩子的成长起到什么作用呢？他们仅仅是母亲的替补？还是有其真正意义的所在？鉴于父亲节即将到来，让我们一起来认识一下，父亲对于孩子们成长的重大意义吧~！

秋千　　已经厌倦都市生活的青年刘海国突然收到已经断绝关系二十年的父亲的死亡讣告，匆匆赶到父亲寄居的村镇。然而，从刘海国踏进这个陌生小镇的一刻起，便感到身边都是诡异的眼光。父亲的葬礼结束后，村民们为“欢送”刘海国举办了聚会，而当刘海国宣布要继续留在该地时，一种神秘的氛围笼罩在了周围。村子的权力核心——70多岁的里长最终同意了刘海国的决定。　　留下来的刘海国渐渐发现，里长非等闲之辈，尽管年纪很大，但明显是全村人的精神领袖。刘海国开始感到这里实际上隐藏着不为人知的秘密……

1978年，自感在越战中犯下杀孽的刘木刑返回韩国后信仰天主，为洗清罪孽，刘潜心修行并组织村民集资买地以供传道之用。刑警千永德（郑在泳 饰）怀疑刘木刑实为骗子，对后者进行迫害，不久却被刘感动，两人一起带上几名罪犯，远赴荒僻之地以求救赎。 　　25年后，千、刘等人定居之地已经发展成一井井有条的村落。刘木刑身死，刘之子刘海国（朴海日 饰）从首尔奔丧，但村中众人貌似并不欢迎刘海国，时时期待他离开。刘海国心中生疑，主张对父亲进行尸检，同时他发现原本属于父亲名下的土地和钱财已被转入千永德名下。刘海国求助检察官朴民旭协助调查，同时村中女子英智在暗中观察刘海国，村中的一些阴暗往事，在刘海国的调查下渐渐浮出水面……

《苔藓人》考察了一个跨越世代、并已成为贝哈尔（Béjar）象征的传说起源。通过与当地居民的对话，影片进一步探究“绿人”这一形象、其文化意义，以及他与这座历史名城的气质、自然和传统之间的联系。 　　Moss-Men investigates the origin of a legend that has transcended generations, becoming the symbol of Béjar. Through conversations with its inhabitants, the documentary explores the figure of the Green Man, his cultural significance and his link with the identity, nature and traditions of this historic city.

A visit to a cosmetic-surgery clinic and the discovery of a lump in his testicle and an abscess in his mouth confront filmmaker Selim Mourad with transience and decay in this unashamedly navel-gazing film essay. ‘Selim from Beirut’ is the last in a long list of names of extinct species he recites during a loveless Grindr fuck. 　　After his death, which proceeds without any further explanation or ado, we see Selim’s image appear in an exhibition by a pretentious photographer. As he hangs nonchalantly on the gallery wall – looking like the love-child of Jean-Paul Belmondo and James Dean, complete with cigarette dangling from his lips – a visitor to the gallery comments that the round framing of these portraits of the dead is reminiscent of film. The actual film frame then also adopts this circular form, this time with Selim’s friend Tamara at the centre. 　　What follows is in many ways like a snake swallowing its own tail, with both maker and work constantly self-referencing; in the eternal cycle of birth and death this creates, Selim and Tamara finally become their own ancestors. The naked, queer body once again plays a prominent role in this concluding instalment of Mourad’s Linceul trilogy – preceded by the shorts Linceul (2017) and Cortex (2018). Using a combination of painterly images, form experimentation, mythical motifs and philosophical commentary, Agate mousse forms an aesthetic antidote to fear of The End.

A visit to a cosmetic-surgery clinic and the discovery of a lump in his testicle and an abscess in his mouth confront filmmaker Selim Mourad with transience and decay in this unashamedly navel-gazing film essay. ‘Selim from Beirut’ is the last in a long list of names of extinct species he recites during a loveless Grindr fuck. 　　After his death, which proceeds without any further explanation or ado, we see Selim’s image appear in an exhibition by a pretentious photographer. As he hangs nonchalantly on the gallery wall – looking like the love-child of Jean-Paul Belmondo and James Dean, complete with cigarette dangling from his lips – a visitor to the gallery comments that the round framing of these portraits of the dead is reminiscent of film. The actual film frame then also adopts this circular form, this time with Selim’s friend Tamara at the centre. 　　What follows is in many ways like a snake swallowing its own tail, with both maker and work constantly self-referencing; in the eternal cycle of birth and death this creates, Selim and Tamara finally become their own ancestors. The naked, queer body once again plays a prominent role in this concluding instalment of Mourad’s Linceul trilogy – preceded by the shorts Linceul (2017) and Cortex (2018). Using a combination of painterly images, form experimentation, mythical motifs and philosophical commentary, Agate mousse forms an aesthetic antidote to fear of The End.

Mosses have colonised almost every corner of the earth’s surface. Evolving from oceanic algae that emerged onto the land 450 million years ago, these very first terrestrial plants became one of the main sources of oxygen for our evolving planet, helping to transform it from an arid rock into a lush world. 　　This documentary travels to some of the most beautiful moss-covered landscapes in the world, including Japan, Iceland, France and Denmark, to meet the experts investigating its astonishing properties and potential. 　　Science is only beginning to understand the secrets and possibilities of these remarkable plants.

Mosses have colonised almost every corner of the earth’s surface. Evolving from oceanic algae that emerged onto the land 450 million years ago, these very first terrestrial plants became one of the main sources of oxygen for our evolving planet, helping to transform it from an arid rock into a lush world. 　　This documentary travels to some of the most beautiful moss-covered landscapes in the world, including Japan, Iceland, France and Denmark, to meet the experts investigating its astonishing properties and potential. 　　Science is only beginning to understand the secrets and possibilities of these remarkable plants.