这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

这绝非寻常小事。高一学生允智和班主任钟成有秘密恋情，如今怀了孕。可钟成却联系不上，也多日没来学校。他的妻子敏英冲进学校找丈夫，甚至报了失踪。和不想要这个孩子的钟成不同，允智原本希望生下孩子，终于拥有一个属于自己的家。但现在，她坚信只要打掉孩子，钟成就会回来。她非法弄到堕胎药，还去找了兽医诊所，试图终止妊娠。她的室友庆善陪着她，踏上这段焦虑、煎熬又令人不安的旅程。 　　《通往抹去的路》所展现的处境严肃、极端，且可能令人震惊。这并非仅仅因为从世俗角度看事情本身性质严重，或是后续会发生一系列可预见的后果 —— 影片真正的用意在于，它并不打算在这些方面过多纠缠。正当秘密与谎言之间似乎正上演着一场微妙的心理博弈时，允智大胆地将自己的愿望付诸行动，却一次次被彻底击垮。片中角色们将亲眼目睹：他们曾相信、想要相信，或是认为必须相信的那个世界，究竟有多冷酷无情。 　　因此，这并非一部纯粹浪漫的校园剧，也不是一则道德寓言，而是一部充满炽烈情感与汹涌波澜的故事 —— 在冷漠的世俗现实面前，成年人与孩子都被狠狠撼动。但即便在这样的混乱中，女孩们并未失去偶尔的幽默，也未丢掉友情与陪伴这一出口，最终找到了属于自己的某种结局。影片处理这一主题时展现出的魄力，十分引人注目。

Fathers and sons, and political exile. In the fall of 1975, Franco is dying but repression continues. Jules and Eve, living well in exile in France, continue to assist the resistance. The underground calls with a job for either, and Eve goes, to the disappointment of their son, Laurent, visiting his parents at their seaside place in Cherbourg and not getting on well with his father. When a road accident in Spain brings tragedy, the father and son's conflict worsens. After Laurent and his girlfriend, Julie, pay a harrowing visit to Jules, Julie stays, taking Jules as a lover. Revelations and admissions about Jules and Eve make way for new ground for Jules and Laurent.

Levon remembers his childhood in Turkey: love, political brutality. A bloody comedy. Also a modern crime story about Armenian terrorists and Turkish secret agents, about Kurds tragedy. 　　Askarian’s most recent project is another meditation on the artist in exile. Like the filmmaker Avetik and the real-life composer Komitas from his previous films, Levon - a writer of Armenian extraction now living in Rotterdam - is caught between memories of homeland and the realities of contemporary life. From his Dutch domicile, Levon reminisces about his brother-in-law (a hairdresser who robs dead Turks), a brilliant Kurdish musician, a red-bearded executioner, a seventeen-year-old girl with chestnut-colored skin, and a Turkish Apollo with eight wives who likes to bury himself in hot ash. His memory is also populated by beautiful thoroughbred horses, stray dogs, camel drivers, soldiers, and Turkish policemen. These poetic, almost surrealist scenes of magic love and political cruelty are contrasted with the reality of present day Rotterdam, presented in the guise of a modern crime story with Armenian terrorists and a Kurdish tragedy. 　　"Every year, we look at thousands of films and when one shines above the rest, as ON THE OLD ROMAN ROAD did, it is indeed a pleasure. Don Askarian, recently honored with a Harvard Film Archive retrospective, is considered the greatest living Armenian filmmaker. In Askarian's latest film, which he describes as “a bloody comedy”, a man in exile remembers a childhood of magic and mayhem, complete with grave robbers, brutal assassinations, horses, and men buried in hot ash. As striking a visual feast as one can find, this is an extravagant and crystalline treasure, a film whose rewards far outweigh its considerable demands."

强制集中营制度猖獗，不分老少男女，无辜的人们在毒气室或炉灶中被杀害。即使少算，其人数也被认为超过1200万。此外，进行各种活体实验，恐怖在可想象的范围内作为享乐被上演。尤其受到严重迫害的是犹太人。 　　仅仅因为是犹太人，超过500万人的大屠杀是世界历史上最大的犯罪——随着德国纳粹的失败，这些犯罪得以揭示。

被世界遺忘是什麼感覺？在2021年緬甸發生軍事政變後，這些年輕人以電影日記的方式，透過螢幕與世界交流。

Early in World War II, Chungking schoolteacher Lin Yang is recruited to help with the dangerous mission of protecting the Allied supply line from Burma into China. In spite of the danger involved, her determination to help is strengthened when one of her young students is killed in a Japanese air raid. Some time later, she is part of a group of Allied representatives departing from Lashio, on a bus traveling the Burma Road back to China. A bridge outage forces them to spend the night in a monastery along the way, and during the night they watch in horror as a supply convoy of trucks is bombed by Japanese planes. The timing and accuracy of the raid brings them to realize that either one of their group, or perhaps the priest in the monastery, is really an enemy agent.

一马跑两国、泼水节狂欢、边境工厂，一个个亲切的故事，将中缅两国源远流长的胞波情谊娓娓道来。通过4K高清技术展现中缅山水相连的“胞波”情谊和两国睦邻友好、共创未来的美好期待和愿景。

这是迈克尔·哈内克为奥地利广播集团（ORF）和西南广播公司（SWF）制作的首部长片电影，于1976年播出。与他后来众多电视和银幕作品一样，本片改编自文学作品。但观众会惊奇地发现，这部早期作品已隐约呈现出《第七大陆》《机遇编年史的71块碎片》《巴黎浮世绘》《隐藏摄像机》等后期杰作的雏形。本DVD源文件翻录自ORF档案的VHS录像带（因此带有硬时间码）。无英文字幕，仅对少量法语/英语段落配有（不完整）德语字幕。 　　这部97分钟的电影改编自奥地利作家英格博格·巴赫曼的中篇小说。该小说创作于1972年，即作者因罗马公寓火灾离世的前一年。故事带有自传色彩：四十余岁的成功新闻摄影师伊丽莎白·马特雷为探望父亲并暂离喧嚣生活，重返故乡克拉根福。期间她多次试图前往附近的沃尔特湖，却屡屡受阻。这次返乡之旅交织着多重记忆碎片：她在大都市的成功事业、逃离乡村童年的轨迹、故土政治版图的变迁，以及与多位男性的情感纠葛——这些关系既是她自我实现之路的催化剂，也构成重重阻碍。其中最引人注目的是贵族知识分子弗朗茨·约瑟夫·冯·特罗塔，这位怀念哈布斯堡王朝的角色与约瑟夫·罗特《拉德茨基进行曲》中的主人公形成互文，也暗含巴赫曼与保罗·策兰的情感印记。两人关系充满创伤，最痛彻心扉的莫过于分离多年后得知他的自杀。最终伊丽莎白返回巴黎，展现出与年轻导演情人保持距离的从容与自信。但悬于两则神秘讯息间的结局，仍为她的前路留下开放想象。

日本军队在缅甸战场受到英军的猛烈攻击，不得不向泰国撤退。溃军中的一队日本士兵唱着《士屋》歌，上等兵水岛弹着琴。部队在接近泰国边境时传来了日本战…