「總是帶著一頂圓禮帽面無表情，穿著一絲不苟的三件式禮服 」 　　綠色蘋果的背後，是怎麼樣的創作態度 ！ 　　一顆蛋將來會變成籠中鳥？ 　　破裂的窗戶呈現的是《夜幕》的感覺？ 　　飄浮的岩石叫做《鑰匙冰淇淋》？ 　　這位特立獨行的畫家，有著奇特的故事與畫作語言等你一起來探索！

历经三年拍摄制作，跨越 8,500 公里的海洋，用影像记录两位海上男儿“海洋文学作家－廖鸿基”与“水下鲸豚摄影师－金磊”追逐理想的过程，以及向岸上家人学习说爱的牵挂点滴。

在美国得克萨斯的奥斯汀的自然风光和人文色彩里，创作力堪称狂热的小剧组，在这里为观众呈现了一个略带超越现实的音乐梦想故事。关于一个在现实和过去里…

A short 6-minute essay-documentary by Maurice Pialat on the region in which much of the action of Nous ne vieillirons pas ensemble unfolds.

‘One Man and His Shoes' tells the story of the phenomenon of Air Jordan sneakers showing their social, cultural and racial significance and how ground-breaking marketing strategies created a multi-billion-dollar business.

The Nuer call themselves Naath. Only their immediate neighbors, the Dinka, Shilluk and Arabs, call them Nuer. Most foreigners, which includes those with whom the Nuer neither fought nor traded, are called Bar which means 'almost entirely cattleless'. Those foreigners who live even more remotely and include Europeans are called Jur which means 'entirely cattleless', a most unthinkable state indeed. 　　The people of Ciengach, where the film was made, are the Eastern Jikany, one of about a sixteen distinct tribes of Nuer. Twenty-five years ago E.E. Evans Pritchard estimated the total population of Nuer to be around a quarter of a million. Since then the number has undoubtedly dwindled considerably due to warfare, civil strife, sickness, drought and the general abandonment of traditional lifeways. 　　However, those who still called themselves Naath did so with an extraordinarily vivid image of themselves as superior people living a superior life. Furthermore, it was impossible not to see that their lives were inextricably tied to their herds. Ciengach is a perfected plan for co-posperity of cows and humans. 　　It cannot be said that filming the Nuer was an easy task, but visually it was always absorbing. They were seldom resentful as was the rule with the Islamicized Afar in the Danakil Desert to the Northeast. On the contrary, the Nuer had a real, even exaggerated, sense of their importance. They considered themselves handsome and displayed their elegance with pride. 　　Nuer existence has, consistent with life led on a flood plain, an almost tidal rhythm due largely to the movement of cattle into and out of the villages. At almost precisely 10:30 in the morning cows and bulls began to groan, stand up and in other ways indicate that the time had come for them to be released and on their way to graze. Within moments the entire herd was sounding a unified complaint. Men and boys then slipped the tethers from their necks and the flow of cattle began. Five more minutes and the village was virtually silent. The herd had receded toward the river and to whatever grass the younger men could find. So the days passed into twilights of returning herds and men and the nights were filled with stars and an almost intoxicating 'bucolia.'

影片讲述在1975年印尼入侵东帝汶期间，五名澳大利亚记者被枪击的事件。本片实际上是通过第六位澳大利亚人的视角来讲述，罗杰·伊斯特是那场灾难中的幸存者。 　　幕后制作 　　“巴里布五人组”事件仍是困扰澳大利亚与印尼之间的阴影。34年前，五名澳电视记者尝试拍摄印尼入侵当时葡属殖民地东帝汶时丧生，而此事未得到官方妥善解决。于2009年公映的影片《巴里布》引起了澳方对此事的再次关注。 　　五名记者于1975年10月死于印尼边陲小镇巴里布，遗体不久得以下葬。印尼方一直称这五人是在印尼士兵与独立战士的交火中丧生的。尽管此种解释曾遭死者家属的强烈不满，澳方出于维持两国关系的考虑，从未对此说法有过任何质疑。 　　澳方对此事的缄默态度两年前才被打破。新南威尔士州的一名验尸官发现五名记者是被印尼特种部队战士蓄意杀害的，而这是上尉Yunus Yosfiah的命令，为了阻止他们披露印尼对巴里布的袭击。澳大利亚总统凯文·路德（时为反对党领袖）立即回应道，“对此有责任的人应付出代价”。这份报告仍旧由警方保管。 　　影片《巴里布》艰难地重述了五位记者的死亡事件，故事是以第六位记者罗杰·伊斯特的视角展开的。罗杰去追查前五位记者的情况，不幸在印尼部队到达帝力时遭枪杀。年轻的记者们正在某地冒险拍摄，其与外界的联系不久就被切断了。当印尼部队逼近时，五人组成员之一的格雷格·沙克尔顿为了保命，在一面墙上勾勒下澳大利亚国旗。影片导演罗伯特·科侬利称，他拍此片不仅要揭露记者们以及数以千计的东帝汶人的无辜死去，还要表达完全混乱状态下国家标志是毫无意义可言的。 　　国际法律专家本·索尔则表示，既然秩序得以恢复，巴里布五人的死因应被追诉为战争罪而开庭审判。克诺利则希望印尼和澳大利亚双方终将一丝不苟地对待事实真相。然而，由于双方关系从未得到改善，加之印尼一直不愿调查苏哈多1998年之前独裁时的种种不良事件，这一真相也许终将不见天日。

罗马尼亚的鞑靼人属于克里米亚鞑靼人（Crimean Tatars），是罗国讲土耳其语的少数民族，人口约两万余人，主要分布在康斯坦察县境内，是罗国伊斯兰教信仰的主要民族。影片记录了多瑙河三角洲地区图尔恰Colina村的Omer一家鞑靼人的生活。