Mateo Sobode Chiqueno’s Ayoreo ancestors worshiped the sun, which they saw as a superior and generous being. But for him and his generation, the sun has primarily become a threat, turning deforested areas into dry, dusty plains—filmed here beautifully but ominously. Some Ayoreo still live in seclusion in the forests of the Chaco in Paraguay. But many more, among them Sobode Chiqueno, were herded into isolated settlements by missionaries, who took their land and forcibly converted them to Christianity. He started recording Ayoreo conversations, stories, and songs in the 1970s, and is still traveling to Ayoreo communities with his now-antique cassette recorder to interview them and collect their voices for his audio archive. Occasionally the device eats a tape, which he fixes with patient fiddling. The conversations express uncertainty about the loss of identity. Is it a problem that a culture disappears in order to adapt to another?

줄거리 실크커텐을 사이에 두고 두남녀가 벌이는 의식의 흐름을 이야기화했다. 자폐증에 가까운 남자와 개방적이며 신경질적인 여자가 벌이는 상황을 시적 이미지를 보강하여 사실적이며 밀도있게 파헤쳐 간다. 두사람 사이에는 두번의 상상이 이루어진다. 남자는 여자에게, 여자는 남자에게 유혹당하는 상상속에서 더 진실한 접근을 시도한다. 결국 이 영화는 인간의 속성은 무엇이며 또 성은 과연 얼마만큼 성스럽고 상스러운 것인지 새로운 시점에서 펼쳐간다. 故事 随着意识的故事流之间的丝绸窗帘是生气，两人均匀。这种情况是开放的，歇斯底里的女孩抓住最近的人患有自闭症加强诗意的影像如此逼真，去挖掘密度。由虚两次两人之间。男人到女人，女人试图想象一个更真诚的方式在被诱惑男人。毕竟，电影是什么是真正的人的财产，另一座城堡竟把神圣的意义在什么新的时间展开。

一个女孩，两个太阳。

《太阳》以近未来的日本为舞台，描写了只能在夜晚生活的新人类与在太阳下生活的旧人类之间的对立和融合，是一部追寻生存意义的人情派作品。

二战末期，轴心国败局已定，作为“邪恶轴心”一员的日本更面临巨大危机。亚太战场节节失利，两颗原子弹进一步摧毁了日本人的心理防线。作为日本最高统帅的裕仁天皇（尾形一成 饰），此时此刻面临着痛苦的抉择。 黑云压城城欲摧，这个身形瘦小的男人，他的内心世界无人能近…… 本片为俄罗斯导演亚历山大•索科洛夫“20世纪统治者三部曲”（亦作“统帅三部曲”）中的第三部，前后制作共花费8年时间，影片被评为2005年亚美尼亚埃里温国际电影节最佳影片。

柏林电影节奇遇单元

我们正处于太阳科学的黄金时代。科学家们正在进行卓越非凡的探索，探究太阳核心的炽热及其表面的磁力混沌。本片探寻了太阳在过去、现在和未来对我们地球的重要性。太阳及日光层观测卫星和追踪卫星提供了一些能在电视上见过的太阳的最佳图片，展现了多年来只在日食时能看到的日光层。《太阳》探索了很多关于这颗星球的科学发现，以及为了满足世界急剧上升的经济需要，我们是否能够驾驭太阳的力量。

Sole is the first film by the great Alessandro Blasetti and bears a complex relationship to the reclamation of the Pontine Marshes, a seminal event in Fascist political history. Sole is also an important document in Italian film history. Its use of non-professional actors and location shooting began the movement away from studio spectacle and historical costume epic toward Italian film realism. Along with Blasetti's later film 1860 (1934), Sole includes many of the cinematic and humanistic traits of neorealism and underscores Blasetti's role as one of its progenitors. Background The film's subject is the massive, highly visible bonifica integrale ("integrated reclamation") project undertaken in 1929 by Mussolini to drain the Pontine marshes, located on the Appian Way some 30 miles southeast of Rome, between Anzio and Terracina. The marshes were a malarial swamp populated by a culturally rich but politically powerless native people, and therefore regarded as ripe for reclamation. The project aimed to replace the marshes with productive farmland and rural housing, and was a Fascist poster for public works and the "rural vocation of the Italian people". Settlers were provided with a standarized two-storey farmhouse of blue stucco with tiled roof, an oven, a plough, agricultural tools, a stable, some cows and several hectares of land. Mussolini was regularly photographed shirtless with workers and farmers, tool in hand, for inclusion in propaganda newsreels. Mussolini spearheaded the legislation, thereafter known as "Mussolini's Law". Work began in 1929, the year that Sole was made, and involved as many as 100,000 workers. Workers were paid poorly, interned in barbed wire camps with minimal care and sanitation, and malaria was rampant. Although Fascist agrarian ideals would have transformed the natives from primitive swamp dwellers to productive farmers, in fact, due to their unreliable politics, the natives were evicted and the five planned towns were populated with reliable supporters from strongly Fascist Northern Italy. Ironically, Anzio at the north end of the filled marshes later served as the Allied beachhead for a planned flank attack on German forces and a march on the "Open City" of Rome. To impede this, Germans turned off the drainage pumps to reflood the marsh, hoping to create a malarial net for the invaders. As a result, Allied and German soldiers fought malaria as well as each other, agriculture was devastated, houses were commandeered or destroyed, and the population was driven out. The area was physically devastated, undoing Il Duce's accomplishments. The film Sole has a complex relation to the Fascist project it documents. Outwardly it's a paeon to Fascist engineering and values such as the will toward progress, rural agrarian development, cultural homogenization and a positivistic spin on the "eternal conflict between civilization and regression". Mussolini reportedly admired the film in a private screening before its release. But the film resides ambiguously between Fascist values and a neo-realist appreciation for local culture and sympathy for the displaced swamp people and reclamation workers. Like 1860, Sole has non-professional actors, location shooting and a populist point of view, traits that were heralded 20 years later in La Terra Trema as the foundation of neorealism. The film offered here is the only known fragment – the first reel containing 265 m (about 9 minutes) of the original 76 mintues. The original negative was destroyed by the Nazis during the Roman occupation of 1943-1944. Sources: http://en.wikipedia.org/wiki/Pontine_Marshes http://en.wikipedia.org/wiki/Battle_of_Anzio http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html http://histclo.com/country/it/reg/cent/lat/ircl-pont.html http://www.nytimes.com/2008/09/22/world/europe/22marsh.html Images: http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html http://www.hks.harvard.edu/fs/rzeckhau/The_Five_Neglects.ppt http://log.doggerland.net/page/11/ http://histclo.com/country/it/reg/cent/lat/ircl-pont.html (filmnutz)

Soleil》（1988，16分钟） Pierre Clementi（1942-1999）自导的一部短片。很多人知道Pierre Clementi是因为他是法国影史上著名男演员之一，虽然他和世界各国的导演都有过很多合作，他曾经主演的作品有贝托鲁奇的《伙伴》《同流者》，帕索里尼的《啄豚屋》，布努艾尔的《银河》《白昼美人》，罗查的《被砍下的头颅》，莉莉安卡瓦尼的《食人族》，扬索的《和平者》等等，还曾在加里尔的先锋电影《内心的伤痕》中出演牵马人一角。他演出的电影风格多样，涉猎广泛，但很少有人知道他也是一位出色的实验电影导演。克雷门蒂被人称为是法国的Kenneth Anger，他导演的作品不多，但和美国导演安格的作品一样充满着神秘而怪诞的影像，明显受六七十年代迷幻运动和地下电影的影响很深。这部《太阳》据说是他个人最满意的作品之一。 Soleil (1988) is Clementi's favourite among his own works. I understand it forms a cinematic complement to his autobiographical final play, Chronique d'une mort retardee / Chronicles of a Delayed Death, a search for beauty and meaning in his life in the form of lengthy monologues, again, to the accompaniment of a wealth of images, trembling, superimposed with each other and with the author's thought processes. Clementi at his most vulnerable and Rimbaud-esque (refer to Jeunesse from Illuminations).

阮施南穿越三本小说融合的修仙界，师门全员自带主角剧本，唯独她是毫无戏份的小透明。她摆烂度日，借系统抽签伪装神棍算命赚灵石，时常金句开导同门。机缘结识落魄反派天骄，二人组队花式搞钱。故事融入网络热梗，趣味演绎别样仙途，众人挣脱既定宿命，相伴成长收获温情与归宿。