In 315, Peruvian artist Daniel Jacoby’s birthday, May 31, becomes the beat that gives structure to the chaos brought about by sorting through years of home movies and streams of found imagery, searching for the junctures where his own life coincides with world events of all stripes. 　　源自：https://www.moma.org/calendar/events/9397 　　---------- 　　A sequence of family anecdotes and historical events coinciding with the artist's date of birth takes on a different tone as he unearths what happened in his native Peru on that specific day in 1989. The monotonous pattern of facts pertaining to the 31st of May suddenly begins to unveil connections to notions of oppressive masculinity, the nuanced tactics employed by imperialist forces, and a neoliberal dream that facilitated the neglect of an important episode in Peruvian history. 　　源自：https://danieljacoby.com/projects/315

由著名的海马影视创作室创作的30集系列剧《请拨315》需要为两个“上帝”服务：作为一部被称作《编辑部的故事》续集的电视剧，它要为自己的“上帝”——观众，提供一部高质量的艺术作品；而作为反映假冒伪劣商品对社会、对人的危害并对其进行斗争的题材，甚至包括剧组人员在内的广大消费者也就成了它的另一个“上帝”。

由著名的海马影视创作室创作的30集系列剧《请拨315》需要为两个“上帝”服务：作为一部被称作《编辑部的故事》续集的电视剧，它要为自己的“上帝”——观众，提供一部高质量的艺术作品；而作为反映假冒伪劣商品对社会、对人的危害并对其进行斗争的题材，甚至包括剧组人员在内的广大消费者也就成了它的另一个“上帝”。

一段穿越千年的恋情，尝尽了人间的酸甜苦辣；　　一场惊天动地的人妖之恋，道尽了三界的儿女情长。　　亲如手足的姐妹为情而互相残杀；　　…

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

暂无剧情简介

Werner Herzog follows mountaineers Hans Kammerlander and Reinhold Messner during their expedition into climbing the Gasherbrum mountains, which has some of the most difficult peaks to be conquered, and they'll do it without the use of oxygen tanks. Herzog also takes some time to hear about their past experiences with other mountains, their personal tragedies and the reasons why they are so involved with such activity. 　　- Written by Rodrigo Amaro

Driven by their desire for light and warmth, British teenagers take a trip to the Balearic islands. They must absorb the sun and store it in their bodies to take it back to their cloud-covered kingdom. 　　源自：https://www.berlinale.de/en/2023/programme/202305287.html