Accomplished novelist Richard Sykes struggles to come up with a concept for a new book while trying to resolve his troubled marriage to Haley. In the process, he seeks out friends and colleagues to assist him in overcoming his personal demons that may servr to make him or break him.

和一群职业单板滑雪选手一起踏上环球征途，历经俄罗斯和加拿大的街道、日本的密林、印度和阿拉斯加的峭壁、阿尔卑斯的山峦以及格陵兰的秘境。这不仅是一项运动，更是一次旅行和一种生活态度。

清晨，静谧的森林里，神像往常一样打开电视， 新的一天里，人们的思念和愿望在屏幕上娓娓道来…

Barbara Hammer’s Audience (1981) is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking.

The film opens with Seoul’s “Freedom Center,” a formidable brutalist building that has become synonymous with South Korea’s anti-communist regime. Though largely abandoned today, its influence still endures. In democratic Korea, the civil war has morphed into a war of images, one that has forged an impregnable, unambiguous reality for its people. In this lyrical, insightful, and skillfully-edited essay, Kim Mooyoung analyzes a wealth of visual materials, intercutting newsreel footage with surprising, at times poignant, and often utterly absurd excerpts from South Korea’s distinguished film history, exposing the chasm between history and propaganda, and revealing how echoes of the past have been meticulously preserved and replicated in South Korea’s present. Accompanied by captivating commentary, all these elements fit together harmoniously, leaving us both astonished and unsettled by ideology’s terrifying ability to hit hardest when veiled.

The film opens with Seoul’s “Freedom Center,” a formidable brutalist building that has become synonymous with South Korea’s anti-communist regime. Though largely abandoned today, its influence still endures. In democratic Korea, the civil war has morphed into a war of images, one that has forged an impregnable, unambiguous reality for its people. In this lyrical, insightful, and skillfully-edited essay, Kim Mooyoung analyzes a wealth of visual materials, intercutting newsreel footage with surprising, at times poignant, and often utterly absurd excerpts from South Korea’s distinguished film history, exposing the chasm between history and propaganda, and revealing how echoes of the past have been meticulously preserved and replicated in South Korea’s present. Accompanied by captivating commentary, all these elements fit together harmoniously, leaving us both astonished and unsettled by ideology’s terrifying ability to hit hardest when veiled.

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.