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。

'Stories Not to Be Told' shines the comedic spotlight on those kinds of situations we've all found ourselves in, but which we'd rather no one ever knew about, or which we wish we could forget about altogether.

'Stories Not to Be Told' shines the comedic spotlight on those kinds of situations we've all found ourselves in, but which we'd rather no one ever knew about, or which we wish we could forget about altogether.

一群自称为“午夜学会”的孩子们每集都坐在篝火旁，交换可怕的故事。 令人毛骨悚然的但从来没有变得胆怯或过分恐惧的常见主题包括鬼屋，邻居墙后发生的事情以及其他在夜晚发生的事情。

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。