김태리 브이로그 ’거기가 여기가 맞나‘ 일상의 묘한 면모를 드러냈다.

上海，巴黎，大兴安岭， 　　不同的地点，不同的故事，却存在着某种联系。 　　上海 　　來自森林的国光在老陸的飯館里當服务員，巧遇女孩小夏，正當两人關係日益密切，小夏却意外死于車禍。国光陷入孤獨，為了完成小夏的遺愿，他帶着骨灰登上了东方明珠塔。 　　巴黎 　　老陸的儿子陸浩在巴黎留学，晚上被盜，為了生存他只能打工，每天給脾气古怪的房东老劉送外賣，与他逐漸結成往年之交，陪伴老劉渡過了最后的時光。 　　大兴安岭 　　傳统的生活方式正受到現代社会的衝擊。作為一個養鹿人人，国光的大哥的生活經歷着這巨变。他讓妻子和孩子離開大山，在城市里面生活，而他選擇留在大山里，繼續着祖先的游牧生活。

A Chinese immigrant falls in love with a college girl who works in a storehouse. Their relationship strongly develops until the girl is pregnant which changes everything.

《这儿和那儿》是安托尼奥·门德兹·艾斯帕扎执导的一部剧情片，由Pedro De los Santos和Teresa Ramírez Aguirre主演。本片荣获第65届戛纳电影节影评人周单元大奖 。 　　影片讲述一个墨西哥男人在美国工作赚钱多年后终于回到位于格雷罗一个小村庄的家中。据官方介绍，“这部电影关于希望，以及被我们留在过去的那些人和事”。影片2013年2月8日在西班牙上映。

『あちこちオードリー』は、テレビ東京で2019年10月5日から放送されているバラエティ番組。オードリーの冠番組。 　　オードリー春日が大将となり店をオープン！常連客の若林、そして今注目の有名人をゲストに迎え、本音トークを展開！盛り上がること間違いなしの、ぶっちゃけトーク番組！ 　　事前アンケートなし、打ち合わせ無しの、フリートークバラエティ。 　　今、人に興味がありまくるオードリーの２人が、ゲストの懐に飛び込み意外な素顔を引き出す「日本一油断しちゃう居酒屋」です！

『あちこちオードリー』は、テレビ東京で2019年10月5日から放送されているバラエティ番組。オードリーの冠番組。 　　オードリー春日が大将となり店をオープン！常連客の若林、そして今注目の有名人をゲストに迎え、本音トークを展開！盛り上がること間違いなしの、ぶっちゃけトーク番組！ 　　事前アンケートなし、打ち合わせ無しの、フリートークバラエティ。 　　今、人に興味がありまくるオードリーの２人が、ゲストの懐に飛び込み意外な素顔を引き出す「日本一油断しちゃう居酒屋」です！

摘希虽然喜欢伊御，却没办法坦率的表现出来。伊御虽然不清楚摘希的心意，却还是温柔的对待她。两人的关系维持在朋友程度，尚未成为恋人。两人的朋友们总是在一旁热热闹闹的守护他们。 自2006年10月号以三个月的短篇的形式开始在“まんがタイムきらら”连载。标题的英文为“PLACE TO PLACE”。摘希（尖端出版社译名）和伊御两人微妙的距离感让旁观的人反而比他们更害羞，这时两人的朋友会代替读者对他们吐槽。在第一集书腰上写着“看了之后一定会想要在地上打滚”。

御庭摘希（大久保瑠美 配音）是一个有着紫色长发和呆毛的傲娇少女，个性呆萌又别扭的她有着一个心上人——音无伊御（冈本信彦 配音）。在伊御的眼中，摘希是一个需要照顾的小妹妹，这让摘希觉得十分抓狂。虽然完全没有自觉，但是伊御时常会做出一些让摘希无法承受的刺激举动。 　　围绕着这一对友达以上恋人未满的笨蛋情侣的，是一群有趣又善良的朋友们。天然呆的春野姬（福原香织 配音）总是被爱捉弄人的科学怪人片濑真宵（生天目仁美 配音）耍得团团转；而有着僵硬症的戌井榊（浅沼晋太郎 配音）又总是在笑料达到高潮的时刻浑身僵直不能动弹。这群可爱的朋友们，围绕着他们而展开的日常就是这部动画所要表达的主要内容。

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. 　　La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. 　　Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. 　　To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. 　　Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. 　　People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. 　　A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。