“镜子后面”拍自著名的克罗地亚导演Vinko Bresan，它有三个领衔主演，给我们讲述了一个不幸的人生的故事。尼古拉和马雅耶伦之间的婚姻因为爱的缺失和尼古拉的不贞而破裂。尼古拉的工作是个建筑师，他瞒着妻子和安娜来往着。从这里我们明白三角案情必然以破碎告终，因为每个人都要索取。马雅想要她的老公和孩子们的爸爸回来但是却不能原谅他的背叛（尽管她的妈妈和妹妹也有同样的问题），这就使得她成为全剧中最浓郁的角色。另一方面尼古拉是个懦弱的人，即便他单方面已经爱情不再却不能了断婚姻；同时他无法和他爱的女人私奔但是却和她(安娜)在谎言中生活了6年多。安娜左右为难，因为她爱着尼古拉，但是从心里知道那不是她的男人。这就是为什么会有悲惨结局（就像《巴别塔》的开局里，皮特的老婆那样），在这种结局里，尼古拉失去了一切，没有必要怜悯他因为有火你就不能假装用纸包住。

“镜子后面”拍自著名的克罗地亚导演Vinko Bresan，它有三个领衔主演，给我们讲述了一个不幸的人生的故事。尼古拉和马雅耶伦之间的婚姻因为爱的缺失和尼古拉的不贞而破裂。尼古拉的工作是个建筑师，他瞒着妻子和安娜来往着。从这里我们明白三角案情必然以破碎告终，因为每个人都要索取。马雅想要她的老公和孩子们的爸爸回来但是却不能原谅他的背叛（尽管她的妈妈和妹妹也有同样的问题），这就使得她成为全剧中最浓郁的角色。另一方面尼古拉是个懦弱的人，即便他单方面已经爱情不再却不能了断婚姻；同时他无法和他爱的女人私奔但是却和她(安娜)在谎言中生活了6年多。安娜左右为难，因为她爱着尼古拉，但是从心里知道那不是她的男人。这就是为什么会有悲惨结局（就像《巴别塔》的开局里，皮特的老婆那样），在这种结局里，尼古拉失去了一切，没有必要怜悯他因为有火你就不能假装用纸包住。

What was at first a simple pursuit to regain stolen money becomes the chance for a dysfunctional family to finally reconcile.

一个年轻的女人讲述自己的流产故事，正如很多女人所经历的。她深知，这关乎生死。但也关乎自由和自主权。关键在于做出选择。影片带我们走近了一种并非所有人都曾经历、且难以归类的生命体验。一部轻声细语但冲击力巨大的电影。

Olja is a high school history teacher, married to a painter whose latest exhibition provoked violent reactions from Serbian nationalists. One night, a group of masked hooligans attacks her. They film the attack and upload the clip to YouTube. The next day Olja discovers that some of her students were responsible. She takes away their mobile phones, and in the heat of the moment decides to lock them in the school building, also disconnecting the school phones and the internet. In order to solve the problem together, and with inability to leave the school, students begin to communicate. During that night, a generation that was written off before they were ever given a chance will learn more than they ever expected about themselves and their classmates.

What was at first a simple pursuit to regain stolen money becomes the chance for a dysfunctional family to finally reconcile.

Olja is a high school history teacher, married to a painter whose latest exhibition provoked violent reactions from Serbian nationalists. One night, a group of masked hooligans attacks her. They film the attack and upload the clip to YouTube. The next day Olja discovers that some of her students were responsible. She takes away their mobile phones, and in the heat of the moment decides to lock them in the school building, also disconnecting the school phones and the internet. In order to solve the problem together, and with inability to leave the school, students begin to communicate. During that night, a generation that was written off before they were ever given a chance will learn more than they ever expected about themselves and their classmates.

一个年轻的女人讲述自己的流产故事，正如很多女人所经历的。她深知，这关乎生死。但也关乎自由和自主权。关键在于做出选择。影片带我们走近了一种并非所有人都曾经历、且难以归类的生命体验。一部轻声细语但冲击力巨大的电影。

慈母手中线，游子身上衣，艾查的两名儿子却是离家出走，加入极端圣战组织，她日夜期盼找到他们下落。她与丈夫及最小的儿子居于突尼斯北部农村，有天其中一名儿子悄悄回来，还带着穿长袍面纱、一言不发的怀孕妻子。艾查一心保护儿子，将他们匿藏起来，村里却接连有人离奇失踪，恐惧开始笼罩整个村落。玛丽安祖柏首部长片，延续其奥斯卡提名短片《亲情庇护》主题及摄影风格，揭示母爱的极限，以心灵感应残酷真相。入选柏林影展主竞赛单元。

慈母手中线，游子身上衣，艾查的两名儿子却是离家出走，加入极端圣战组织，她日夜期盼找到他们下落。她与丈夫及最小的儿子居于突尼斯北部农村，有天其中一名儿子悄悄回来，还带着穿长袍面纱、一言不发的怀孕妻子。艾查一心保护儿子，将他们匿藏起来，村里却接连有人离奇失踪，恐惧开始笼罩整个村落。玛丽安祖柏首部长片，延续其奥斯卡提名短片《亲情庇护》主题及摄影风格，揭示母爱的极限，以心灵感应残酷真相。入选柏林影展主竞赛单元。