Vivienne Dick - 1983 Like Dawn to Dust takes up the exploration of the rural landscape initiated in Visibility Moderate but it is characterized by a very different mode of address. Instead of appropriating from radio, television or film, Dick develops a more overtly 'poetic' aesthetic, through performance, cinematography and sound. The opening shots of a decaying 'Big House' bearing the scorch marks of a fire, are accompanied by an off-key piano, recalling stage melodrama or early cinema. The house, most likely a remnant of Anglo-Irish society, is abandoned but for the figure of Lydia Lunch, wearing her signature New York 'Goth' make-up and clothes. Lunch delivers a poetic monologue, both on screen and in voice-over, over a traditional soundtrack and her final words emphasize the circularity of Irish narratives: 'the past never dies, it just continually repeats itself.'

Vivienne Dick - 1983 Like Dawn to Dust takes up the exploration of the rural landscape initiated in Visibility Moderate but it is characterized by a very different mode of address. Instead of appropriating from radio, television or film, Dick develops a more overtly 'poetic' aesthetic, through performance, cinematography and sound. The opening shots of a decaying 'Big House' bearing the scorch marks of a fire, are accompanied by an off-key piano, recalling stage melodrama or early cinema. The house, most likely a remnant of Anglo-Irish society, is abandoned but for the figure of Lydia Lunch, wearing her signature New York 'Goth' make-up and clothes. Lunch delivers a poetic monologue, both on screen and in voice-over, over a traditional soundtrack and her final words emphasize the circularity of Irish narratives: 'the past never dies, it just continually repeats itself.'

二十世纪初的墨西哥，非法之徒强尼在刽子手刀口下大胆逃逸，更携走刽子手美丽动人的女儿艾丝梅洛达两人亡命闯天涯。会合昔日的狐群狗党，半路打劫新婚夫…

An African refugee's quiet existence in a sleepy mountain town in the south of France is upended by the arrival of a Catholic priest whom she recognizes from her past.

An African refugee's quiet existence in a sleepy mountain town in the south of France is upended by the arrival of a Catholic priest whom she recognizes from her past.

1949年上海解放前夕。国民党黑暗的统治即将结束，黎明尚未到来。上海市警察局的旧警察林少白正在找各种门路囤积米面蔬菜等生活物资。他不过就是个小警察，不管谁来接管这座城市，他都要维持好两个妈妈——死去父亲的原配大太太和亲生母亲的生活。这天是发薪水的日子，林少白上班路上，只见整个街头充满了上海城破的混乱。拖欠了大半年的薪资，发的却是如同废纸的金圆券。林少白气不过，拉着搭档徐巍潜入警察局的库房，顺走了不少好货，准备转手拿到黑市上兜售。晚上林少白和徐巍过来取货，正赶上处长叶士武奉局长毛森之命，在上海城破之前秘密屠杀地下党。地下党员们视死如归，唱起了《国际歌》。这一幕让偷看的林少白深受触动。林少白和徐巍正要偷偷离开，叶士武却堵住并逼迫他们向地下党员开枪。既然林少白和徐巍看到他们屠杀共产党，那就一起手上沾血。危急时刻，林少白高声叫着要见局长毛森，假意说他可以作为潜伏人员留在上海，但为了清白，他们的手就绝不能沾血。正当毛森答应时，楼下徐巍的枪响了，而且是连开两枪，替林少白击毙了剩下的两名共产党。

一九四三年，一场震惊沪上的爆炸案让中共地下党员路正阳 （ 聂远 饰）与旧警察林少白 （ 陈哲远 饰）初次交锋，各显身手。六年后，上海解放，路正阳成为上海市公安局反特战线上的一名骨干，面对严峻的反特斗争形势，路正阳在领导的支持下，经过严格甄别，大胆启用了有“上海百事通”之称的旧警察林少白。两人结为搭档，连续破获了保密局上海特别站老牌特务郑兰亭 （ 王志文 饰）一手策划的“金库大劫案”“伪造假币案”“潜伏电台案”等大案，彻底挫败了隐藏在暗处的敌特分子的阴谋。在办案过程中，路正阳、林少白从摩擦不断到逐渐建立信任，直到成为生死与共的战友 。

Askold Kurov's bold and compelling documentary chronicles the erosion of press freedom in Russia in the run up to, and during, the invasion of Ukraine. 　　With unparalleled access, Of Caravan and the Dogs follows a group of independent journalists and activists whose criticism of the war in Ukraine leads to their censorship and exile. ‘There´s such a thing as self-respect’, muses one journalist in a staff meeting called to discuss the ethics of publishing under new, arcane censorship laws. Structured around a countdown to war, the film intercuts tense meetings between newspaper staff with footage of Russian police ransacking media offices, televised broadcasts by Putin, large-scale protests in Russia and on-the-ground footage from an embattled Ukraine. The film is both a powerful exploration of the personal dilemmas of people living under strict repression and a unique perspective on resistance movements within a notoriously hermetic state.

Askold Kurov's bold and compelling documentary chronicles the erosion of press freedom in Russia in the run up to, and during, the invasion of Ukraine. 　　With unparalleled access, Of Caravan and the Dogs follows a group of independent journalists and activists whose criticism of the war in Ukraine leads to their censorship and exile. ‘There´s such a thing as self-respect’, muses one journalist in a staff meeting called to discuss the ethics of publishing under new, arcane censorship laws. Structured around a countdown to war, the film intercuts tense meetings between newspaper staff with footage of Russian police ransacking media offices, televised broadcasts by Putin, large-scale protests in Russia and on-the-ground footage from an embattled Ukraine. The film is both a powerful exploration of the personal dilemmas of people living under strict repression and a unique perspective on resistance movements within a notoriously hermetic state.

青年法官沈谢秩携手律师秦睿，与舒静、胡艾溪、陈向辉等法律同侪深入基层工作，为人民群众解决亲子矛盾、婚姻困境等纷繁的社会、家庭问题；在一桩桩案件中，秉持法律无情人有情的原则，践行初心使命、坚守法治信仰的故事。