This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

This correspondence, or exchange of letters and video diaries between acclaimed filmmakers Jonas Mekas and José Luis Guerin is extremely potent, there's sorcery at play in the mixture of the two. Together they're light and dark. Mekas knows life's joys, and is always a participant in what he films, Guerín is a detached observer, cold, present only as a black mote, reflected in the eye of one of his subjects. Guerín shoots in black and white and strives for formalism, Mekas loves hazard, loves his chaotic hand-held colour camera. Jonas Mekas felt that his images were inferior to those of Guerín, but a picture of his son Sebastian devouring a pickle, followed by Jonas on the deli sausage and wine, and then a cheeky close up of Goethe's Faust; which of them Faust and which Mephistopheles? That one shot set me thinking about the nature of art and the privilege of artists, and could be interpreted in any one of several fruitful ways. 　　Guerín's Camera is brutal, his viewpoint black, on death and distance. He sends Jonas a morbid video, regarding a Slovenian film writer, which is almost a provocation. One beautiful moment, filmed through a gap in his hotel room's curtains shows a young couple frolicking in the sea, for which brief segment he allows music. It's deliberately voyeuristic though, Guerín is distant he identifies with migrant workers he films in Venice. 　　The films, in an aesthetic sense presents clarity versus confusion, reality versus a dreamer's obfuscation. There's an extent to which what we see is a real correspondence, an extent to which they are talking past one another. Guerín intones that dialogue between filmmakers is an impossibility, over images of fish heads on ice in a market. It's one of two visual quotes I suspected are from Pere Potabella (from Pont de Varsovia). 　　The difference in viewpoint I suspect ultimately is that Mekas sees beauty in the fact that life goes on, wonder in impermanence, Guerín is blanched by it.

1995年，Jonas是个躲在柜中的14岁男孩，他对英俊潇洒的同学Nathan一见钟情，尤其对Nathan桀骜不驯的一面又爱又怕。18年后，三十而立的Jonas已是风流倜傥的熟男，却仍在寻找人生平衡点，因为挥之不去的回忆阴影，他回到睽违已久的家乡，试图在每个记忆角落，寻找早已失去的线索、14岁的自己，以及他曾经爱过的那个男孩…

1995年，Jonas是个躲在柜中的14岁男孩，他对英俊潇洒的同学Nathan一见钟情，尤其对Nathan桀骜不驯的一面又爱又怕。18年后，三十而立的Jonas已是风流倜傥的熟男，却仍在寻找人生平衡点，因为挥之不去的回忆阴影，他回到睽违已久的家乡，试图在每个记忆角落，寻找早已失去的线索、14岁的自己，以及他曾经爱过的那个男孩…

Narcoleptic Finnish naturist as beautiful as Venus is on vacation in Southern France with her husband. She goes for a walk in the field naked and gets lost. A local kid takes her to his village to help her as well as brag to his friends.

This is a 1991 made-for-French-TV 90 minute film directed by Daniel Losset' starring Caroline Laurence as the 'Venus', & Maxime Boidron as 'Lulu' (French familiar name for 'Louis'). 　　Set in a Southern French village, it's a quirky mildly comedic film a-la-Jaques Tati, which most certainly would not have been televised anywhere other than in France or other European country, as the plot revolves around the discovery of a naked Caroline Laurence by Boidron (a boy of around 11) in fields near the village & his subsequent attempts to hide her in the village, while ostensibly looking for some clothes for her to wear. 　　The premise of the film is that Laurence, a slim, statuesque short-haired & very attractive Nordic-looking woman, is a somnambulistic naturist who accidentally sleepwalks out of her husband's caravan when he stops at the roadside following a puncture. She sleepwalks into a nearby field, he fixes the tyre, then, unaware she's no longer in the caravan, drives off. 　　She is subsequently found by Lulu & befriended. 　　Unfortunately she speaks only English & Finnish & Lulu only French. 　　He hides her in a disused room in his family's barn eventually, after an extended hide-and-seek trip round the village, with the naked Laurence being sneaked, hand in hand with Lulu, past various other villagers.

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

兩位年輕的女導演以影像書信的對話形式討論電影、家庭、母職等。運用深刻的個人反思將日常生活體現於電影中。這些影像片段不僅促使兩人審視自己，也彼此分享自己的一部分。透過鏡頭，同時記錄了時代的變化。

While the show will focus on the band aspect of the trio and their music, it is actually a fictional series where the brothers play a group of government hired undercover spies.

While the show will focus on the band aspect of the trio and their music, it is actually a fictional series where the brothers play a group of government hired undercover spies.