“There is no Here here.” A character simply named Old White Male (John Erdman) holds court in the lobbies of various apartment buildings in Buenos Aires and expounds with measured disgust on death, consciousness, and the state of contemporary human relations. The man’s mostly unsolicited remarks form an unsparing, stitched-together modern-day monologue that alternates between absurd and chilling, reasonable and grotesque. Filmed in Buenos Aires in October 2019, Heinz Emigholz’s spare continuation—and sardonic distillation—of certain themes explored in The Last City is morbid, confrontational, and hilarious.

“There is no Here here.” A character simply named Old White Male (John Erdman) holds court in the lobbies of various apartment buildings in Buenos Aires and expounds with measured disgust on death, consciousness, and the state of contemporary human relations. The man’s mostly unsolicited remarks form an unsparing, stitched-together modern-day monologue that alternates between absurd and chilling, reasonable and grotesque. Filmed in Buenos Aires in October 2019, Heinz Emigholz’s spare continuation—and sardonic distillation—of certain themes explored in The Last City is morbid, confrontational, and hilarious.

A family's front porch evolves into another interior room of their House, in turn reflecting their relationshin to a changing community.

兰斯是个退伍归乡的军人，同时他也是当地印第安人的领袖，他靠在自己的领地放牧发了大财，然而此时新法律规定所有的土地将要重新被购买，法律根本不保护印第安人的权利。兰斯为保存自己的土地开始了不懈奋斗……

兰斯是个退伍归乡的军人，同时他也是当地印第安人的领袖，他靠在自己的领地放牧发了大财，然而此时新法律规定所有的土地将要重新被购买，法律根本不保护印第安人的权利。兰斯为保存自己的土地开始了不懈奋斗……

1960年秋天，托马斯·莱利神父和约翰·桑顿神父被梵蒂冈派遣去调查一个在鸢尾花园里一个“堕落的女人”引发的奇怪事件，但却发现了更可怕的事情。

1960年秋天，托马斯·莱利神父和约翰·桑顿神父被梵蒂冈派遣去调查一个在鸢尾花园里一个“堕落的女人”引发的奇怪事件，但却发现了更可怕的事情。

他最大的舞台。 他最大的观众。 你最大的笑声。

他最大的舞台。 他最大的观众。 你最大的笑声。