螳螂族公主陆昭然被749局收编后，专门负责打击拐卖集团。前往江城大学执行任务时，被大一男生程阳疯狂追求，有所动情之时却发现其疑似参与拐卖。陆昭然假意不知，跟随其回到偏远山村，发现村子里底层女性的痛苦生活和反派拐卖妇女的犯罪行为，面对反派不再伪装身份，化形螳螂开始狩猎。

螳螂族公主陆昭然被749局收编后，专门负责打击拐卖集团。前往江城大学执行任务时，被大一男生程阳疯狂追求，有所动情之时却发现其疑似参与拐卖。陆昭然假意不知，跟随其回到偏远山村，发现村子里底层女性的痛苦生活和反派拐卖妇女的犯罪行为，面对反派不再伪装身份，化形螳螂开始狩猎。

螳螂族公主陆昭然被749局收编后，专门负责打击拐卖集团。前往江城大学执行任务时，被大一男生程阳疯狂追求，有所动情之时却发现其疑似参与拐卖。陆昭然假意不知，跟随其回到偏远山村，发现村子里底层女性的痛苦生活和反派拐卖妇女的犯罪行为，面对反派不再伪装身份，化形螳螂开始狩猎。

螳螂族公主陆昭然被749局收编后，专门负责打击拐卖集团。前往江城大学执行任务时，被大一男生程阳疯狂追求，有所动情之时却发现其疑似参与拐卖。陆昭然假意不知，跟随其回到偏远山村，发现村子里底层女性的痛苦生活和反派拐卖妇女的犯罪行为，面对反派不再伪装身份，化形螳螂开始狩猎。

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home.

Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

Eersgeborene explores identity and sexuality within the Afrikaans minority culture of post-Apartheid South Africa through a fable about two brothers who descend into matricide and madness on a remote ostrich farm.

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

一个韩国家庭前往阿根廷寻找更好生活的移民之旅，以及他们在途中寻找方式哀悼失去的一切。韩裔阿根廷少女莉拉仍在寻找自己在这个世界中的位置。与此同时，她的父亲安东尼奥18年前作为一名年轻男子抵达拉丁美洲，寻找新的天地，并决定将一切押注在年轻移民的梦想承诺之上。这是一部跨越代际的史诗，试图回到过去以重塑当下。

‘My mum left me when I was a baby, she never saw a celebration, and she’ll never see one. Oh generation of god.’ In Kinyarwanda ‘Imfura’ means first-born, the noble one, gentleman. Gisa, a young man, travels to his mother’s village. He never got to know her, since she disappeared in the genocide. Gisa wants to comprehend, to remember, so he meets those who remain. Much has changed. Various chants and rituals guide him in his search. The memory is inside him, the midwife says, has always been with him. He is not alone. He is alone however when he is suddenly forced to choose a position in a fight over an inheritance, a shell of a house. The ruins represent the visible remains of the genocide. 　　The film’s hybrid form, its fusion of documentary and staged material, gives it a great sense of immediacy. Imfura is the first Rwandan production to be included in the competition of Berlinale Shorts