The Art of Vision is an experimental film directed by Stan Brakhage. This colour silent films reuses footage from Brakhage's Dog Star Man but edited it into a much longer film. 　　A presentation for retrospective screening of the film explains this difference of treatment of the same material: "The rarely screened magnum opus by Stan Brakhage, an expanded version of his "cosmological epic" Dog Star Man. That film was made with multilayered superimpositions; in The Art of Vision, each layer is shown separately."

布莱凯吉在他的《狗星人》中延展了抒情形式，这个五个部分的作品集，试图融合自然、人类日常生活、死亡的必要性与宇宙的律动等主题。布莱凯吉并且将这部影片的所有片段区分开来，剥去层层的重叠影像，进而完成另外一部长达四个半钟头，他称之为《视觉的艺术》（The Art of Vision，1965）的作品。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

2021威尼斯电影节非竞赛展映。

2021威尼斯电影节非竞赛展映。

Sam (Joe Swanberg) has feelings for Juliette (Josephine Decker), the lead actress in a sexually explicit drama centered on a couple's one night stand. He must maintain a professional relationship while directing her. All is going well until Juliette and her co-star Eric (Kent Osborne) develop feelings for each other that they explore off-camera. Sam is happy that his actors have such great chemistry, but simultaneously feels jealous. Juliette senses Sam's shifting moods and does her best to show him affection, but his own inner struggles threaten to derail the production.

Sam (Joe Swanberg) has feelings for Juliette (Josephine Decker), the lead actress in a sexually explicit drama centered on a couple's one night stand. He must maintain a professional relationship while directing her. All is going well until Juliette and her co-star Eric (Kent Osborne) develop feelings for each other that they explore off-camera. Sam is happy that his actors have such great chemistry, but simultaneously feels jealous. Juliette senses Sam's shifting moods and does her best to show him affection, but his own inner struggles threaten to derail the production.

法国著名女星朱丽叶·比诺什加盟日本导演河濑直美的新片《视觉》（Vision），影片将于本月在奈良开始为期两周半的拍摄工作，并在11月进行第二阶段的拍摄。除了朱丽叶·比诺什的加盟外，日本男星永濑正敏确定也将出演本片，这也是永濑正敏第三次与河濑直美合作，此前他们合作的影片《澄沙之味》、《光》均入围了戛纳电影节的竞赛单元，这部新片也有望再次入围戛纳。 　　影片由法国Slot Machine公司与河濑直美自己的Kumie公司联合制作，故事讲述比诺什扮演的法国女作家来到奈良，将与永濑正敏饰演的当地人开始一段跨越文化与语言的故事。影片计划在2018年上映，但具体上映日期还有待确定。

故事讲述比诺什扮演的法国女作家来到奈良，将与永濑正敏饰演的当地人开始一段跨越文化与语言的故事。