Zbigniew Rybczynski1975年拍摄的实验短片，比《时间码》早了整整25个年头！！

[Period Covered: 1570-1573] Towards the end of the Tenmon Era, Shogun Ashikaga`s powers were weakening by the day and many were there who planned to overthrow him. It was the beginning of the Sengoku (Warring States) period. Three men attack a gunpowder maker in a farmhouse, the first chopping off his arm with his sickle-&-chain weapon, the second blinding him with sword, the third giving the killing blow. His son Kojiro Kosume escapes the attackers as everything he has known up to then explodes into conflagration. He grows up & enters the start of the Tokugawa Era, intent on avenging his father.

这是一部关于印度女性新闻从业者的纪录片。在这个男性主导的领域，诞生了印度唯一一份由达利特女性经营的报纸。首席记者梅拉和报社的其他女性同事一起，以智能手机为武器，在性别不公的前线与传统思想进行抗争，向世人证明女性能冲破家庭的束缚，通过工作展现出女性独有的力量。

这是一部关于印度女性新闻从业者的纪录片。在这个男性主导的领域，诞生了印度唯一一份由达利特女性经营的报纸。首席记者梅拉和报社的其他女性同事一起，以智能手机为武器，在性别不公的前线与传统思想进行抗争，向世人证明女性能冲破家庭的束缚，通过工作展现出女性独有的力量。

29岁的助理编辑爱丽丝同时也是一位有抱负的作家，她冰雪聪明，机智幽默同时也带着叛逆色彩。在一家著名的出版公司里，孜孜不倦的述写自己的故事，爱丽丝努力想置身于公司高点，然而却总被和Milan——父亲最好的朋友——之间的青涩关系而钳固不前。15年后，Milan和爱丽丝再度相遇，从而长期以来不为人知的故事也拉起神秘面纱。导演Marya Cohn将爱丽丝成年和少年的两个场景巧妙交织在一起，探索出过去事实对年轻女人的现在的影响。

这部历时五年拍摄的纪录片，记录了一个阿富汗家庭的故事，更确切地说，是讲述了主人公——我的母亲哈瓦的故事。13岁那年，父母为她安排了一门包办婚姻，嫁给了比她大31岁的穆萨。哈瓦对穆萨没有爱情，却还是和他生了六个孩子。2019年，我的父亲穆萨被诊断出患有阿尔茨海默病。哈瓦意识到这是她重新开始，成为一个独立女性的最后机会。 　　哈瓦从未失去学习和体验生活的渴望。她从诗歌、音乐和书籍中汲取灵感，请求孩子们教她读书写字。她还开办了一家小型传统纺织品手工艺品店。如今53岁的哈瓦，也开始注重打扮，化妆打扮，让自己焕然一新。她把孙女扎赫拉带到喀布尔，以免她被迫嫁给别人。 2019年，我拿起相机记录母亲的转变，此后便从未停止过拍摄。然而，突如其来的变故给哈瓦和我的家庭带来了新的挑战。

Filmed over five years, this documentary is the chronicle of an Afghan family and, more particularly, of its central character, my mother, Hawa. When she was 13 years old, her parents set her up in an arranged marriage with Musa, who was 31 years older than her. Hawa had no romantic love for Musa but had six children with him. My father, Musa, was diagnosed with Alzheimer’s in 2019. Hawa decides that this moment is her last chance to start her life over as an independent woman. 　　Hawa had never lost her desire to learn and to experience more of life. Inspired by poems, music, and books she would pick up, she asks her children to teach her to read and write. She launches a small business of traditional textile handicrafts. Now at 53, Hawa also changes her appearance using make-up and dressing up beautifully. She brings her granddaughter Zahra to Kabul to protect her from an arranged marriage. In 2019, I picked up the camera to document my mother’s transformation, and I never stopped filming her since. However, a dramatic turn of events has created new barriers for Hawa and my family.