一场战争在乌克兰东部的顿巴斯爆发，由此衍生出军事冲突、犯罪行动以及分裂主义者主导的大肆劫掠。在顿巴斯，战争已是常态，政府宣传自诩真相之源，仇恨变成了爱的方式。走入顿巴斯，就像踏上一场疯狂的旅行，悲剧和荒谬与生死相交织。这并不是一个关于某个地区、某个国家或某种政治体系的故 事，而是展示了一个迷失于谎言与真相，寻找自我身份的失落的世界，这事关我们每一个人。

一场战争在乌克兰东部的顿巴斯爆发，由此衍生出军事冲突、犯罪行动以及分裂主义者主导的大肆劫掠。在顿巴斯，战争已是常态，政府宣传自诩真相之源，仇恨变成了爱的方式。走入顿巴斯，就像踏上一场疯狂的旅行，悲剧和荒谬与生死相交织。这并不是一个关于某个地区、某个国家或某种政治体系的故 事，而是展示了一个迷失于谎言与真相，寻找自我身份的失落的世界，这事关我们每一个人。

http://www.film-documentaire.fr/4DACTION/w_fiche_film/49339_1 　　Anne-Laure Bonnel是一位年轻的法国记者，同时也是孩子的母亲。她决定在一位乌克兰父亲Alexandre的陪伴下，前往顿巴斯，也就是乌克兰东部亲俄的地区。 　　深处战争风暴中心，她捕捉到了那些记录了致命冲突和前所未有的人道主义灾难的惨烈影像。 　　影片《顿巴斯》，是一部沉浸式的公路电影，一部以一个饱受摧残的国家为背景的惊心动魄的纪录片。 　　记录战争，并不等同于记录战斗场景。 　　如果战争是一种景观，我们常常会忘记围绕在战争周围的人或事。在景观的聚光灯之外，所有人都在努力生活着，或者更确切的说：努力生存。 　　《顿巴斯》为这些人发声。 　　Anne-Laure Bonnel通过这个纪录片，审视冲突的普遍性，并为我们拍摄了没有得到足够展示的“一面”。

http://www.film-documentaire.fr/4DACTION/w_fiche_film/49339_1 　　Anne-Laure Bonnel是一位年轻的法国记者，同时也是孩子的母亲。她决定在一位乌克兰父亲Alexandre的陪伴下，前往顿巴斯，也就是乌克兰东部亲俄的地区。 　　深处战争风暴中心，她捕捉到了那些记录了致命冲突和前所未有的人道主义灾难的惨烈影像。 　　影片《顿巴斯》，是一部沉浸式的公路电影，一部以一个饱受摧残的国家为背景的惊心动魄的纪录片。 　　记录战争，并不等同于记录战斗场景。 　　如果战争是一种景观，我们常常会忘记围绕在战争周围的人或事。在景观的聚光灯之外，所有人都在努力生活着，或者更确切的说：努力生存。 　　《顿巴斯》为这些人发声。 　　Anne-Laure Bonnel通过这个纪录片，审视冲突的普遍性，并为我们拍摄了没有得到足够展示的“一面”。

乌克兰东部的顿巴斯，昔日曾是苏联工业重镇，如今则成了超大型的战争片场。前一秒还在梳妆打扮、谈笑排演，下一秒已是怵目惊心、满目疮痍的爆炸血案。是政府一手导演的戏码？还是战争的日常？斯拉夫黑暗大陆，黑心贪官在医院和难民收容所狐假虎威、中伤抹黑，国难财一起发，样板戏齐套招，邪恶样样都来，就是没有人为子弹流泪。 改编自2014 至2015 年间的真实事件，纪录片出身的乌克兰导演瑟盖洛兹尼察，以手持镜头穿梭蛮荒地带，虚实交错地呈现2014 年大选后乌克兰内战前线的荒谬景况，见证亲俄派分离主义者与乌克兰政府军「激烈」交锋...

乌克兰东部的顿巴斯，昔日曾是苏联工业重镇，如今则成了超大型的战争片场。前一秒还在梳妆打扮、谈笑排演，下一秒已是怵目惊心、满目疮痍的爆炸血案。是政府一手导演的戏码？还是战争的日常？斯拉夫黑暗大陆，黑心贪官在医院和难民收容所狐假虎威、中伤抹黑，国难财一起发，样板戏齐套招，邪恶样样都来，就是没有人为子弹流泪。 改编自2014 至2015 年间的真实事件，纪录片出身的乌克兰导演瑟盖洛兹尼察，以手持镜头穿梭蛮荒地带，虚实交错地呈现2014 年大选后乌克兰内战前线的荒谬景况，见证亲俄派分离主义者与乌克兰政府军「激烈」交锋...

Dziga Vertov's Entuziazm is considered a masterpiece of early sound film and of Soviet avant-garde cinema. Dealing with the Five Year Plan of the late 1920s, it was praised by artists like Charlie Chaplin, was subsequently forgotten, and rediscovered by the avant-garde movement of the 1960s. 　　This edition presents the film, for the first time on DVD, in two versions: the print preserved in the former Soviet Union's Gosfilmofond as well as Peter Kubelka's fascinating restoration which - by re-syncing the image and sound - allows the viewer to experience what Vertov considered the new language of sound cinema. In Restoring Entuziazm, Peter Kubelka - filmmaker and co-founder of the Austrian Film Museum - demonstrates the principles of his restoration work und discusses Vertov's concepts of cinema. The Extras section presents two more rare documents from the Austrian Film Museum's Vertov collection. 　　Enthusiasm: Symphony of the Donbas, Vertov's paean to the Soviet first Five-Year Plan for economic development (1928-32), clearly has a "three-movement" form. Beginning with an overture on the elimination of all the old detritus impeding full socialist construction (particularly religion and alcoholism), the film moves into a middle section that passes through many of the stages of heavy industrial production to culminate in a final movement, where the products of industrialization flow back to the USSR (most notably to the countryside) and are celebrated. 　　The film is classicly Vertovian in its reflection upon its own constructed nature. Like Man with a Movie Camera, Enthusiasm seems to begin twice: the music we hear (and watch) being heard in the film's first shot is later repeated, with the woman auditor replaced by a male conductor in a radio studio. The production, transmission, organization and audition of sound enter our own conscious reception of the film. Thus Enthisiasm is a three-levelled film, with the audience's auditory experience, the film as a sound-image construct, and the documentary character of the film's basic materials all co-present and woven together as part of a reflexive texture remarkable at this early date in the history of sound film, and inspirational for many later experimenters, including Peter Kubelka and Richard Serra.

Dziga Vertov's Entuziazm is considered a masterpiece of early sound film and of Soviet avant-garde cinema. Dealing with the Five Year Plan of the late 1920s, it was praised by artists like Charlie Chaplin, was subsequently forgotten, and rediscovered by the avant-garde movement of the 1960s. 　　This edition presents the film, for the first time on DVD, in two versions: the print preserved in the former Soviet Union's Gosfilmofond as well as Peter Kubelka's fascinating restoration which - by re-syncing the image and sound - allows the viewer to experience what Vertov considered the new language of sound cinema. In Restoring Entuziazm, Peter Kubelka - filmmaker and co-founder of the Austrian Film Museum - demonstrates the principles of his restoration work und discusses Vertov's concepts of cinema. The Extras section presents two more rare documents from the Austrian Film Museum's Vertov collection. 　　Enthusiasm: Symphony of the Donbas, Vertov's paean to the Soviet first Five-Year Plan for economic development (1928-32), clearly has a "three-movement" form. Beginning with an overture on the elimination of all the old detritus impeding full socialist construction (particularly religion and alcoholism), the film moves into a middle section that passes through many of the stages of heavy industrial production to culminate in a final movement, where the products of industrialization flow back to the USSR (most notably to the countryside) and are celebrated. 　　The film is classicly Vertovian in its reflection upon its own constructed nature. Like Man with a Movie Camera, Enthusiasm seems to begin twice: the music we hear (and watch) being heard in the film's first shot is later repeated, with the woman auditor replaced by a male conductor in a radio studio. The production, transmission, organization and audition of sound enter our own conscious reception of the film. Thus Enthisiasm is a three-levelled film, with the audience's auditory experience, the film as a sound-image construct, and the documentary character of the film's basic materials all co-present and woven together as part of a reflexive texture remarkable at this early date in the history of sound film, and inspirational for many later experimenters, including Peter Kubelka and Richard Serra.

Фільм розповідатиме про двох «ворогів дитинства», останніх мешканців невеликого села, які лишилися жити в «сірій зоні» поблизу лінії фронту. «Мало зважаючи на воєнні події, вони намагаються створити своє мирне життя в небезпечній місцині, але все руйнується, коли в селі з’являється російський снайпер»,

Фільм розповідатиме про двох «ворогів дитинства», останніх мешканців невеликого села, які лишилися жити в «сірій зоні» поблизу лінії фронту. «Мало зважаючи на воєнні події, вони намагаються створити своє мирне життя в небезпечній місцині, але все руйнується, коли в селі з’являється російський снайпер»,