暂无剧情简介

Rumours about a mythical free land sow havoc in an ultra-regulated society where citizens wear paper bags on their heads to dissolve their differences. In this stylish sci-fi animation, a well-oiled system with echoes of George Orwell’s 1984, starts crumbling when whispers of a land where freedom reigns begin to spread. The hero, a fresh council member in love with a free-spirited girl, finds himself involved in a complicated net of incidents that open his eyes to a new reality. 　　Schirkoa: In Lies We Trust is based on Ishan Shukla’s 2016 multi-award winning short and voiced by a star cast including Golshifteh Farahani, Asia Argento, Lav Diaz and Gaspar Noé. Shot using a video game engine geared toward greater innovation and aesthetic control, the film combines 3D and 2D technologies to build cool, sophisticated visuals, architectures with pronounced geometries, and a noirish atmosphere. Shukla revels in classical dystopian topics: a society of control, pervasive brainwashing, amorphous crowds, the impulse toward liberation and the mirrored fear of it. He simultaneously establishes intriguing parallelisms with recent contemporary events – revolts for freedom, civil disobedience and the masked pandemic world. 　　源自：https://iffr.com/en/iffr/2024/films/schirkoa-in-lies-we-trust

在一个由强制性的异性恋正统主义主导的社会中，每个人都必须履行自己的角色。该影片深入挖掘了外部期待所带来的影响以及与性别认同相关的问题。

在一期虚构的“反派影评”节目中，波米介绍了一部十年后上映的电影《新迷影纪年》。这部影片由十五则未来预言构成，有炼取赛博舍利的工程师、有通过改变肤色拒绝光照的极地居民、有白发苍苍的火星起义劳工、有相濡以沫共度数据饥荒的祖孙俩、有在黑市贩卖记忆的数据人、有被安装喉部发生器而只能说一种语言的歌剧演员…….在这片非所在的所在空间里，所有人试着找到出口。

Maltin makes a warning about gunplay in his brief intro to this short. Mickey and Pluto stay in a cabin, where the rules say all dogs must be leashed and muzzled. A frustrated Pluto gets his revenge in his dreams. That cat that took his dinner becomes his personal servant and cook, and Pluto can sit on a royal bed and eat all day long.

Born in 1935, in Ibaragi Prefecture. Jonouchi entered the Art Department of Nihon University; in 1957, along with his colleague Katsumi Hirano, he co-founded the Film Study Group in the Fine Art Department of Nihon University. He co-directed “The Record of N [N no Kiroku]” (59), the second production by the collective, documenting the disaster of the Ise Bay Typhoon. “Pou Pou” (60) is a chain of amorphously expanding phantasmagoric images, with insertions of the images taken from film classics. During the same period, looking ahead to the future after graduation, he co-founded the VAN Institute for Cinematic Science as a forum for film production, and began living communally with five members including Masao Adachi. In correspondence with the anti-art movement of the time, VAN Institute assumed a place for artists working in various media to gather together. A documentary of the Anti-Japan-US Security Treaty struggle of 1960, “Document 6.15” (61), was screened at the memorial assembly for Michiko Kanba, who was killed at the demonstration in front of the Diet Building. It was a pioneering experiment of ‘intermedia’ in Japan which showed symbolic close-up images of Kanbara along with the scenes re-enacting police brutality, meanwhile two completely different soundtracks were played together, slide projections of paintings were going on, and a live happening was taking place at the venue. Jonouchi subsequently produced “Document LSD” (62), documenting a public LSD experiment using himself as the object; “Hi Red Center Shelter Plan” (64), that was about an art event at the Imperial Hotel; “WOLS”(65), consisting of fragments of a painting by WOLS, which were put together through in-camera editing; “Hijikata Tatsumi,” which shot the stage of Tatsumi Hijikata frame by frame. Towards the 70’s Anti-Japan-US Security Treaty Struggle, he continued to document the student uprising, while successively producing the “Gewaltopia series” including “Hakusan Street by Nihon University [Nichidai Hakusan-dori]”(68), “The Mass Collective Bargaining at Nihon University” (68), “Gewaltopia Trailer” (69), and “Shinjuku Station” (74). By including live performances which created improvised sounds and editing the 　　films differently for each screening, and thus negating the idea of film as being complete, repeatable, and consumable — Jonouchi pursued ‘cinematic revolution.

在一期虚构的“反派影评”节目中，波米介绍了一部十年后上映的电影《新迷影纪年》。这部影片由十五则未来预言构成，有炼取赛博舍利的工程师、有通过改变肤色拒绝光照的极地居民、有白发苍苍的火星起义劳工、有相濡以沫共度数据饥荒的祖孙俩、有在黑市贩卖记忆的数据人、有被安装喉部发生器而只能说一种语言的歌剧演员…….在这片非所在的所在空间里，所有人试着找到出口。

被女主人残忍抛弃后，狗狗马克汉姆（Nitipaisalkul Pichaya 配音）幸运地在一群同类之中找到了安身之处，尽管日子依旧在颠沛流离的流浪之中度过，但有了好友们的陪伴，饥饿和苦难都变得不再那么难熬。

本片讲述了一群浪迹天涯的狗狗为救其中一只受伤狗，历经千难万险带它去“狗托邦”治病的故事。　　这部融合了狗狗间友情、爱情、甚至三角恋的有趣电…

2007年4月5日，一部讲述了泰国流浪狗在漫长的旅途中寻找属于它们自己的乌托邦的电影横空出世，它就是《寻找狗托邦》。这部由真狗上阵与人对戏的剧情片在爱狗人士中获得了不小的关注。两年后，也就是2009年2月6日，中国大陆引进并公映了这部泰国片。童星金铭，张一山、杨若兮以及杨紫等演员为影片中的狗狗们配音。在当天的首映礼上，配音演员们与狗狗互动不少。