讲述了五只蚂蚁因为各种缘由入坑股市，他们一起参与神秘股市聚会，通过股票领悟到人生、友谊、爱情的human喜剧故事。

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

"The Smell of Burning Ants" looks at the underbelly of what it calls "male socialization and boyhood cruelty." At one point the narrator says that boys "become boys, in large part, by not being girls. The ones who don't figure this out are the same ones who get beat up." One of the problems that the film is probing is the vacuum of clear social edification; boys get their identity through social cues which are mediated with large distortion. Men who are already fragmented find themselves inexplicably angry, unable to cope with a mechanized society that pigeonholes masculinity as automated and repetitive violence (verbal and physical). The anger gets loosed on the family, and the children internalize this as both being directed toward them and a pattern to mimic. Masculinity is a poisoned bloodline but is the only one transmitted. Boys must reject the creative anima in place of loyalty. If there is a social genealogy the film tracks then it is sired by brute strength and alienation. 　　A lot of the footage is found footage, but it is cut and manipulated enough (optical printing, slowed framerate) that it feels like fiction rather than a documentary. It's a highly charged fiction though, given a haunting soundtrack and a narrative voice that lisps just enough to undercut the seriousness of the tone. It teeters between art and melodrama. It's my favorite Rosenblatt of the bunch I've seen and should get a receptive audience at kg.

即将升入高三的五个女孩们打算趁着周末偷溜出校，想要好好放松的她们却被自己的计划困住，虽“偷”得了半天时光，却耗费在各种琐事上。事情没有按照计划发展，就连垂涎已久的红毛丹也没有想象中的甜。当假期随着泡沫一起消失后，她们带着褪回的黑发，以及欢乐后的感慨继续前行。

即将升入高三的五个女孩们打算趁着周末偷溜出校，想要好好放松的她们却被自己的计划困住，虽“偷”得了半天时光，却耗费在各种琐事上。事情没有按照计划发展，就连垂涎已久的红毛丹也没有想象中的甜。当假期随着泡沫一起消失后，她们带着褪回的黑发，以及欢乐后的感慨继续前行。

母亲消失已久，年龄在7到16岁的三姐妹独自生活，直到社会服务机构要求前来拜访，长姐Laura决定寻找一位母亲的临时替身。

母亲消失已久，年龄在7到16岁的三姐妹独自生活，直到社会服务机构要求前来拜访，长姐Laura决定寻找一位母亲的临时替身。

这部电影由6个故事组成，从一个虐待动物者和一个针对同一地区女性的连环杀手开始。希腊的制度和社会似乎不愿意伸张正义，所以受害者不得不自己解决问题

这部电影由6个故事组成，从一个虐待动物者和一个针对同一地区女性的连环杀手开始。希腊的制度和社会似乎不愿意伸张正义，所以受害者不得不自己解决问题

焼肉には”こうしなければならない”というルールはない。 　　しかし、それぞれにコダワリはある。 　　そうした焼肉への想いを美麗な映像で観客全てが共有する 　　体感型映画が本作だ。 　　肉を食べる前に、最初に頼むのはやはりビール、 　　いや、白飯を頼みたいからウーロンハイ・・・ 　　そこで画面に登場する一杯のレモンサワー。 　　何故だ！？まさか「ホルモン塩」から行くつもりか？ 　　この映画に登場人物はいない。 　　舞台はテーブルの上のガスローター。ストーリーや起承転結は、 　　鉄板の上で焼かれる様々な部位が織り成していく・・・ 　　さらに、４K映像＆スーパースローによる 　　かつて見たことのない「美味そうな映像」が 　　摂食中枢を激しく刺激する！