《2049》结多位女星诠释母亲、人妻，以女性观点纵视科技在2049年对人类带来的变化与困境，尤其邵雨薇、林子熙、莫允雯、李亦捷在该影集分别坐拥“完美预测”、“记忆重建装置”、“读心装置Stable”等新科技，她们看似活在科技创新的未来，但当人人渴望的科技全面入侵家庭，导致幻想、梦境与现实的界线逐渐模糊，女人该如何自处？又该如何捍卫爱情、亲情？是该影集欲探讨的核心价值之一。

瀚草影视继去年《谁是被害者》后，预计6月推出未来影集《2049》。该剧由邵雨薇、林柏宏、林子熙、莫允雯、陈汉典、李亦捷等主演，包含《完美预测》《刺猬法则》《幸福话术》3个单元。《2049》集结多位女星诠释母亲、人妻角色，从女性视角审视2049年科技给人类带来的变化与困境。邵雨薇、林子熙、莫允雯、李亦捷在剧中分别拥有“完美预测”“记忆重建装置”“读心装置Stable”等新科技。她们看似生活在科技创新的未来，但当人人渴望的科技全面入侵家庭，幻想、梦境与现实的界限逐渐模糊，女性该如何自处？又该如何捍卫爱情、亲情？这是该剧想要探讨的核心价值之一。

Elizabeth Price describes her films as moving ‘from something that looks like a PowerPoint lecture, to something that looks like an infomercial to something that feels like a cinematic melodrama’. For the Turner Prize exhibition, Price is presenting her video installation THE WOOLWORTHS CHOIR OF 1979 2012. Comprising three parts, the video brings together distinct bodies of material into a dissonant assembly; photographs of church architecture, internet clips of pop performances and news footage of a notorious fire in a Woolworths furniture department in 1979. The film weaves together existing archives of text, image and sound to create video installations that drift between social history and fantasy.

《太空2049》讲述在2049年，新型载人宇宙飞船“凤凰号”发射，开启人类太空移民计划。在星际航行的过程中，“凤凰号”遭遇虫洞消失，参与飞船研制的教授钟兴国集结各国航天人展开了一场太空救援行动。

《太空2049》讲述在2049年，新型载人宇宙飞船“凤凰号”发射，开启人类太空移民计划。在星际航行的过程中，“凤凰号”遭遇虫洞消失，参与飞船研制的教授钟兴国集结各国航天人展开了一场太空救援行动。

《太空2049》讲述在2049年，新型载人宇宙飞船“凤凰号”发射，开启人类太空移民计划。在星际航行的过程中，“凤凰号”遭遇虫洞消失，参与飞船研制的教授钟兴国集结各国航天人展开了一场太空救援行动。

《太空2049》讲述在2049年，新型载人宇宙飞船“凤凰号”发射，开启人类太空移民计划。在星际航行的过程中，“凤凰号”遭遇虫洞消失，参与飞船研制的教授钟兴国集结各国航天人展开了一场太空救援行动。

Every time our annual international film fest hits town, I scan all the offerings, with special attention to Iranian productions. I have seen so many fascinating films from a country that, in recent years, has banned Hollywood and other films foreign to them, and yet their filmmakers, despite having to follow strict guidelines and risking censorship at every turn, produce some of the finest films in world cinema. 　　This documentary features interviews with several Iranian filmmakers, plus clips from a number of their best films. Among various aspects of Iranian film-making, they talk about how their reflective films differ from the Hollywood action variety, although there is such a role for Iranian film as well. What perhaps is really remarkable is how freely these producer/directors talk in a critical way about the censorship exercised in their country. The clever ways they get around it actually appear to challenge and enhance their creativity (as Duke Ellington once said, in describing how he had to compose his music to fit the talents and limitations of his band members, "It can be good to have limits"). Unusual scenarios between husbands and wives get around the rule that men and women, even when married, can't touch. Children are sometimes used to state in an allegorical or analogous fashion what could not be presented by adult characters. And the role of women is wondrously portrayed in these productions from a country that severely limits women's roles.

Featuring: Mo Zhong, Want Wen Guang, the Shanghai Symphony Orchestra, Maoist dance troupes, Taoist temple music and tea-dance tango bands. 　　Description: In the early 1980's, China was just emerging from the repressive Cultural Revolution which very nearly stamped out much Chinese classical and folk music - three thousand year-old traditions. Cautiously, musicians, singers, composers and conductors were re-emerging, returning from exile and beginning to revive some of the suppressed music, all under the vigilant gaze of suspicious government officials. 　　Into this moment of regeneration came director Jeremy Marre on a quest to capture the true musical traditions of China. Constantly battling to avoid the dull 'official' musical ensembles he traveled to Shanghai, Beijing, and the Islamic, far northwestern region of Xinjian. 　　In Beijing, he was able to film Want Wen Guang, one of less than 100 Chinese who can still play the gu-qin, an ancient zither-like instrument, in a stirring, passionate performance. Later he encounters Mo Zhong, a Taoist priest, and temple drummer whose hands were broken during the Cultural Revolution in order to keep him from playing, as well as a young master of the pipa, a traditional lute, who managed to perform brilliantly despite conditions which keep him from practicing. 　　In the Islamic northwest, a very different China is encountered, a China where music and dance still flowers freely, as captured here in a wild wedding celebration. 'Cotton Mill Shanghai Blues' is a thought-provoking documentary of a dormant, ancient musical culture finally re-emerging. In addition to the performances noted above, this episode from the Beats of the Heart series also features acrobats and puppeteers, female ballad singers, Shanghai traditional opera and tea house music.