这是二十四段每秒二十四格的电影真理，也是馈赠给世人的遗愿纪念。伊朗电影大师阿巴斯在静态摄影与动态影像之间，百转千回、细细探寻，也搭建起两种艺术表现形式间的关联。下起雪来白茫茫一片的林地，炊烟袅袅升起的村屋，鸟儿振翅飞过原野，鹿与牛缓步迁徙横越，世间万物在阿巴斯灵动诗意的凝视中，每一个按下快门瞬间的之前与之后，都随着景框里的窗框树影摇曳，天马行空地流转时光，在影格与影格之间，梳理电影的本质。 　　“电影始于葛里菲斯，止于阿巴斯。”这是法国新浪潮大导演高达对阿巴斯电影美学的赞誉。从摄影出发，拓延影格之间的空隙，《24格》发想自阿巴斯个人收藏的照片，历经三年的时间与伊朗技术团队合作，运用数位影像工具，以3D动画、摆拍的方式，重新想像这些画面的前世今生，与其创造出来的情感触动。摄影与电影之间反覆且亲密的追寻与叩问，一曲温柔而绵长的影像诗。

虽然青春偶像影片《关键第四号》正在热映中，但是显然导演D·J·卡卢索已经找到了自己的下一个项目。近日，有外国媒体报道说，导演卡卢索有望反派悬疑小说《击败死神》，而红星莱昂纳多·迪卡普里奥也有望出演该片。小说《击败死神》讲述的是，因为抚养自己的祖父母被一群暴徒枪杀，14岁的布劳纳不得不进入一个黑手党家庭，但是他并没有放弃自己的复仇计划。一年后，布劳纳就找到了凶手并将其杀死，报了自己祖父母的仇。惊讶于布劳纳的能力，黑手党家庭的大卫将其吸纳为自己的组织成员，经历了更多的创伤之后，布劳纳拼尽全力进入了警方的“证人保护计划”，并花化名彼得·布朗，成为一名曼哈顿医院的实习医生，与自己的过去做了个了结。但是一次医院与过去黑手党成员的重逢，令其不堪的过去的暴露成了隐患，布劳纳不得不为自己的新生活再次铤而走险。

2002年11月，年轻的白人司机（克里夫·欧文 Clive Owen 饰）载着传奇灵歌教父詹姆斯·布朗（詹姆斯·布朗 James Brown 饰）来到一处豪华酒店与某人见面。经过层层关卡，他们来到一处光怪陆离的诡异所在。另司机难以置信的是，他们所要见的是号称“黑暗王子”的魔鬼（加里·奥德曼 Gary Oldman 饰）。原来詹姆斯•布朗在年轻时曾和魔鬼做过交易，从而拥有了长达半个世纪的舞台辉煌。而今这个年事已高的殿堂明星自感灵感不在，于是希望和魔鬼再做一次交易，或者说是赌博，他得胜的话便能如愿以偿。 　　于是，司机和魔鬼在美国的蛮荒旷野上进行了一场惊险刺激的飚车大赛……

This short piece by Athina Rachel Tsangari, commissioned for the seventieth edition of the Venice Film Festival in 2013, draws on Jean-Luc Godard’s CONTEMPT and functions as a meditation on the state of cinema, depicting two film projectors contemplating the uncertainty of their future.

Sofía, a young journalist immersed in making an artistic documentary about the Chilean army, goes back to live with her grandmother after a breakdown in a relationship. There she meets María, a woman whose view of the military legacy contrasts with that of her grandmother, reflecting the tensions of a country marked by its history.

Sofía, a young journalist immersed in making an artistic documentary about the Chilean army, goes back to live with her grandmother after a breakdown in a relationship. There she meets María, a woman whose view of the military legacy contrasts with that of her grandmother, reflecting the tensions of a country marked by its history.

This short piece by Athina Rachel Tsangari, commissioned for the seventieth edition of the Venice Film Festival in 2013, draws on Jean-Luc Godard’s CONTEMPT and functions as a meditation on the state of cinema, depicting two film projectors contemplating the uncertainty of their future.

They’re the band that everybody has an opinion on, the band that spawned a thousand copyists but combusted too soon to achieve their true potential. In 2004, two years after releasing their first single, The Libertines split. Then in 2010, Carl Barat, Pete Doherty, John Hassall and Gary Powell reunited to play Reading and Leeds, the biggest shows of their career. 　　Frequently described as the UK’s most important music photographer and photojournalist, Roger Sargent was responsible for shooting many iconic photos of this acclaimed British band. His debut feature THE LIBERTINES – THERE ARE NO INNOCENT BYSTANDERS is an all-access music documentary that spans the period of time from the announcement of this reunion to the weekend of Reading and Leeds. With unrivalled access to their inner sanctum, Sargent’s aim was to look beyond tabloid headlines and give an intimate insight into a band reforming and friendships repaired. Rather than taking a strictly linear approach, it’s the spirit that Sargent wanted to capture: stories and moments retold and relived by the band themselves. This includes whimsical, romantic snapshots of the bands history told by band members in locations which resonate with them: for example, a day with Pete in Paris, and Carl giving a guided tour of the “Libertines East End” including a visit to Bethnal Green’s Libertine Alley which is graffiti-scrawled with song lyrics, and Brick Lane’s famous bagel shop. Profiling each band member individually and collectively – something which has never been done before – each of the boys have the chance to put their story in their way. Including access to rehearsals, warm-up gigs at The Forum, and the Reading/Leeds weekend, the film also makes use of Sargent’s unparalleled archive of photos, and altogether it’s as much about the band rediscovering The Libertines as everyone else. 　　Thanks to Roger’s long history with the band, The Libertines goes behind the tabloid headlines to give viewers unrivalled access to the love, laughter, passion and power of a band which united and inspired a generation.” 　　Following a brief sojourn at Melody Maker and ID Magazine, Roger Sargent went to NME, surviving trauma and trends for over a decade. Having worked for Rolling Stone, Mojo, Daily Telegraph, and The Guardian amongst others, he has most recently won critical and popular acclaim for two major exhibitions, The Libertines – Boys In The Band and Future Legends. An exhibition of his photography will run in Spitalfields Market for the duration of East End Film Festival. THE LIBERTINES – THERE ARE NO INNOCENT BYSTANDERS is his debut feature.