男主跟父亲生活在一起，趁着父亲不在家的时候，男主总爱带自己的女朋友回家慰藉自己的不爽，而直到有一天。父亲带回来一个女人，声称这个女人以后就是自己的妻子了，然而善良的父亲却没想到，这个女人竟然就是男主的前女友，更重要的是，这个女人对男主还有另类的情愫....

影片围绕着一位失去记忆的女作家Alina Reynolds(柯比饰)展开。她发现自己一直在纽约城区游荡，分不清楚时间、地点、季节。Alina的意识游走在想象的对话、自己的短篇小说片段，以及周围熙熙攘攘的城市之间。而一个充满魅力的黑人青年的出现，让她的生活有了准星。

影片围绕着一位失去记忆的女作家Alina Reynolds(柯比饰)展开。她发现自己一直在纽约城区游荡，分不清楚时间、地点、季节。Alina的意识游走在想象的对话、…

1928年，伊文思第一次赴巴黎，试图探讨摄影机的表现可能性，并在那里拍摄了一部4分钟的短片《对运动的研究》。 　　Images of mostly traffic in Paris, a.o. seen from the appartment of Germaine Krull or shot while walking through the city with her. Here already the influence of the Russina avant-garde films can be seen clearly, e.g. when looking at the diagonal frame compositions.

1928年，伊文思第一次赴巴黎，试图探讨摄影机的表现可能性，并在那里拍摄了一部4分钟的短片《对运动的研究》。 　　Images of mostly traffic in Paris, a.o. seen from the appartment of Germaine Krull or shot while walking through the city with her. Here already the influence of the Russina avant-garde films can be seen clearly, e.g. when looking at the diagonal frame compositions.

“社会学......类似于一种搏击运动，自卫是它的底线，我们不能将其作为攻击的武器。”布尔迪厄在一家电台广播节目的最后这样总结。阅读布尔迪厄，我们或许会将这个洞见犀利，言辞冷峻，但中译本冗长繁复的学者想象为一本正经的学究，但这部记录片将为我们还原一个真实、可爱，但却依旧充满理想和热情的皮埃尔·布尔迪厄。

“社会学......类似于一种搏击运动，自卫是它的底线，我们不能将其作为攻击的武器。”布尔迪厄在一家电台广播节目的最后这样总结。阅读布尔迪厄，我们或许会将这个洞见犀利，言辞冷峻，但中译本冗长繁复的学者想象为一本正经的学究，但这部记录片将为我们还原一个真实、可爱，但却依旧充满理想和热情的皮埃尔·布尔迪厄。

本作は、フィリピンパブの裏側で行われている偽装結婚のリアルを背景に多文化、共生のあり方を描いたラブストーリー。

林芊芊攥着手机的手指泛白，屏幕上陈村发来的信息像毒蛇吐信：“我女儿又发烧了，你不能见死不救！” 窗外暴雨拍打着玻璃，和她擂鼓般的心跳声混在一起。自从大学那次骨髓捐献后，她的生活就被这家人彻底搅乱 —— 工作日堵在公司楼下，周末守在小区门口，甚至往家里寄恐吓信。​ “老婆，别理他们。” 顾遇白轻轻搂住她颤抖的肩膀，掌心传来的温度让她眼眶发烫。他早就辞掉了出差频繁的工作，每天接送孩子上下学，把家打理得井井有

The story opens in Balochistan, in a small, scarcely ‘wired’ village bordering Iran and Afghanistan. Ahmad is an idealistic teacher in exile, educating the local community; his partner Haseeba, however, has spent time in jail in Tehran for the very same offence against the State. The disaccord between them is not only social but also personal. Ahmad's destiny collides with that of a family fleeing the Taliban; soon the intricate divisions of age and gender within that group will trigger other problems and entanglements – including a 'lovers on the run' intrigue that fleetingly recalls Murnau's classic Tabu (1931). 　　Across all the arresting, shifting peripeteia of its plot, Abbas Amini's film deftly dramatises the complicated question of commitment: do we commit ourselves to a political cause, a set of religious beliefs, or a person? And how do we negotiate the commitments of others, even those closest to us, when they are based on a very different value system? 　　With its sparse music score, densely naturalistic acting and unostentatious camera work, Endless Borders is almost a minimalistic suspense thriller (with Hitchcockian overtones), combined with a heated family melodrama – but it never loses sight of the serious and extremely timely issues that it raises. 　　源自：https://iffr.com/en/iffr/2023/films/endless-borders