TAKE A WALK ON THE DARK SIDE WITH THIS FASCINATING LOOK AT THE FILM NOIR GENRE! 　　Film noir is a hardluck loner, a slumming angel, a look that can kill. It is mood and menace, small budgets and big imagination. It is bleak, unsparing, a slap across the beezer, take it and like it. It is a parade of trenchcoated PIs, tough cookies, schemers, weasels and moneymen. And it has a single star. "The star of film noir is fate," explained Carol Littleton (editor of Body Heat). "It just doesn't get a screen credit." 　　Clips from noir classics and little-known gems, plus interviews with morden noir aficionados like directors Christopher Nolan and Frank Miller, writers James Ellroy and Brian Helgeland and others shape this multifaceted exploration of the movie style that grew out of the hard realities of post-World II life. What is the difference between crime stories and noir? What was the first film noir movie? The answers are intriguing. And noir to the core. Take it and like it.

Shot on Mini DV and mostly in Paris, Towards the Light is a personal diary of exile. Through images of light, landscapes and memory, the film captures a year (2023) of reflective solitude in exile for Russian filmmaker Vadim Kostrov and his wife, artist Natasha Goncharova. A poetic meditation on displacement, loss and the search for light through darkness.

Film noir has rules: they’re rules about plot and character; about femmes fatales and doomed guys in fedora hats; about stark lighting that slices up the image into shards of black and white. The genre was a child of war, a cinema of darkness and suspicion suited a Hollywood working under the blackout conditions and power-rationing imposed after Pearl Harbor. Stranger on the Third Floor (1940) is usually held to be the first example (though it took critics in Paris to give the genre its name). After the war, the genre didn’t seem out of touch with a postwar America of disillusioned ex-servicemen who had returned to find that their wives had managed pretty well without them; and a culture ready to listen to the portentous words of Senator McCarthy. 　　The film critic and journalist Matthew Sweet guides you through the rise of Film Noir, and explains how and why it all came to an end in the 1950s, yet somehow the genre retains a little magic that we can't help but hark back to from time to time.

小林政广的影片故事背景都在北海道，他认为北海道有其他日本地方没有的寂寥感与茫然感，荒凉的风景般配于对人心的描写。以北海道广大雪景为背景，雪白的画面中，只看见房屋和人，使人的存在和关系更获强调。由于黑色电影(FilmNoir)般作家性较强的作风和独特的拍摄手法，他被称为“作家导演”。其作品当中可看出特吕弗电影的影响，而他自己也予以承认。

本片描写童谣诗人金子的婚姻恋爱。 　　大正9年春天，17岁的金子(松隆子)从女子学校毕业，在山口县仙崎的父母家书店金子文英堂帮忙，与祖母梅(香川京子)，哥哥的坚助(野村宏伸)一起生活，金子还有是继子的弟弟正佑(三宅健)。正佑很喜欢金子写的诗，金子开始用金子铃的笔名写诗，竟然被登载在杂志上，童谣诗人诞生了……

原本漆黑的小屋，电灯突然亮起。这时左边的房门打开，随之进来一只粘土做的左手。它盲无所见，摸索而行，不知不觉来到屏幕最右边的房门前。拧开门锁后，两只眼球滴溜溜滚了进来。左手将眼球粘在食指和中指的指尖，这一刻它的眼前顿时一亮。还未回过神来时，右边的门响起敲门声，一只粘土右手走入房间。在此之后，耳朵、头颅、舌头、牙床、大脑、双腿等身体零件相继敲门进入房间。不速之客依然接二连三涌入小屋，最后的工序即将完成…… 　　本片荣获1990年德国柏林国际电影节最佳短片奖荣誉提及、1990年克拉科夫电影节评委会特别奖。

五集专题纪录片《走向光明：纪念西藏民主改革60周年》，该片展现黑暗落后的旧西藏废除封建农奴制度是不可逆转的历史潮流，以及西藏在进入新时代后呈现出蓬勃生机和强大活力。

美丽女孩中泽沙织（新垣里沙 饰）拥有坎坷的人生，父亲在她很小时便去世了，多年来她和体弱多病的母亲以及年幼的相依为命。沙织感念母亲的恩情，因此无论如何都希望成为一名电影演员来宽慰母亲。生命之火不断销蚀，母亲去日无多，沙织孤注一掷参加决定命运的试听会。该试听会是为名为《Real Actress》的影片专门召开，青年才俊田泽启一（赤冢真人 饰）担任导演，其目标是冲击世界级别的电影节大奖。如此重量级的制作，自然吸引了多方的关注。包括沙织在内，12名新人演员参加选拔。她专注的表演获得好评，制作方内部也有了将其选为女主角的传闻。与此同时，强势的美穗为达目的不择手段，她将憎恨和嫉妒投向沙织。而沙织纯洁的心也不知不觉染上了浓重的黑色……

试想一下，在连续几个月的黑暗或者充满不间断的阳光中生活，我们会是怎样的？我们该如何去生存？是什么吸引人类在极端环境下生活的呢？

这部纪录片由编剧、喜剧人泰格·诺塔洛（Tig Notaro）、著名歌手布兰迪·卡莉（Brandi Carlile）等担当监制，讲述两位才华横溢的诗人，安德烈亚·吉布森和梅根·法利的故事。“在最美的光影中，在电闪雷鸣的瞬间，我的爱人伴我左右。”吉布森在 ta 的诗作 Good Light 中这样写道。通过本片，诗人邀请我们一同见证 ta 对生命、爱与死亡的深刻思考。面对生命的有限，两人用诗歌和爱，书写了一曲动人的生命乐章。