A young woman spends a day in some non-place between town and countryside, has random encounters and watches stones skip over the surface of the river. Tatsunari Ota’s film explores a world without productivity and finds joy in idle time and playfulness. 　　源自：https://www.berlinale.de/en/2023/programme/202309248.html

A young woman spends a day in some non-place between town and countryside, has random encounters and watches stones skip over the surface of the river. Tatsunari Ota’s film explores a world without productivity and finds joy in idle time and playfulness. 　　源自：https://www.berlinale.de/en/2023/programme/202309248.html

看似正常的相遇背后是什么？

男女主设定：万年旗袍控颜控女老生京剧演员VS能唱能演能COS俊美二次元舞台剧制作人戏曲和二次元文化巧妙结合的设定长衫、旗袍、凤眼、纤腰一搦、仿佛…

男女主设定：万年旗袍控颜控女老生京剧演员VS能唱能演能COS俊美二次元舞台剧制作人 　　戏曲和二次元文化巧妙结合的设定 　　长衫、旗袍、凤眼、纤腰一搦、仿佛从浮沉往事中走出来的古典美人，这是女主。眼里盈盈的都是透亮的水，水里面养着情根，美的惊心动魄、有才的惊心动魄，被欺凌过被嘲笑过但依然长成了枝繁叶茂笑傲所有人的模样，这是男主。

'Duarte de Almeida', director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director's power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of "The Annunciation" (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of 'Leonardo da Vinci', and the relationship between a trend-setter master and his disciples. In the end, the movie director decides to come the talk to an end, as it was «becoming endless, like the two of us», and without actually answering the interrogation that starts it: «How can one represent life itself?

'Duarte de Almeida', director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director's power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of "The Annunciation" (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of 'Leonardo da Vinci', and the relationship between a trend-setter master and his disciples. In the end, the movie director decides to come the talk to an end, as it was «becoming endless, like the two of us», and without actually answering the interrogation that starts it: «How can one represent life itself?

30多年来，特瑞·吉列姆一直梦想着将塞万提斯的杰作改编成电影作品。2000年，当他第一次尝试拍摄时，他成为了为梦想和艺术与好莱坞工业机器斗争的骑士。然而，这部改编作品命运多舛，让他变成了荒唐理想主义者的代名词。本片记录了他在17年后再次重启并完成《这个男人来自疯狂世界》的故事。他不仅要面对预算和妥协，还要接受自我怀疑和衰老。结合身临片场的镜头、导演访谈和档案录像，向观众展现了吉列姆无尽的想象力及沉思：当一个艺术家完成了他职业生涯中大部分的追求时，他还剩下什么价值？

Vera is a middle-aged sign language interpreter, whose life is disrupted by her husband's suicide who has to face the raw reality of going against the deep-seated gender issues of our times.

Sujin and her grandmother are shamans living in the mountains. It’s their important daily routine to offer purified water to gods and tell the fortune for troubled hearts. During high school, Sujin works hard to go to college to escape her fate, but the excitement of busy college life deepens conflict with her grandmother. Eventually, Sujin accepts her fate and becomes a full-time shaman.