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It’sMaxim’sbirthday.He’s8yearsold.Helivestogetheronlywithhismotherinavillagenotsoclosetothebigcity.Forhisbirthday,hismotherwilltakehimtoBucharest,toMcDonald’s.There,MaximhopestomeethisfatherWonCannesGoldenPalm-BestShortFilmWonStockholmFilmFestival-BestShortFilm

满身湿透的中年妇女摘下假发注视窗外,年青小伙在充满寒带景不雅墙纸的歌厅里飙泪,新娘试图擦去婚纱上的污迹。短片经由过程数名脚色在匿名的多数会寻觅密切的进程,反应都会配景下人与别人!时光跟空间关联的缺掉,并以作为全片中心元素的水跟抒怀歌曲从新树破其接洽,实现对都会对人类关联的塑造的探讨。影片入围柏林片子节短片比赛单位。（小易甫字幕组）

GluedtohisTVset,amanchannel-surfsfrenetically,zappingfromonestultifyingshowtotheother.Ashegrowsmoreandmoreindifferenttotheconstantstreamofviolentandcrudeimages,hestandsupandengageshimselfinanunspeakableactofself-liberation.

当一个星际小鬼Skibumpers老师开释事实生涯中的圣诞白叟时,自在同盟必需结合起来挽救圣诞节。

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Voice1(male"professionalannouncer"type):Thisneighborhood(1)wasmadeforthewretcheddignityofthepettybourgeoisie,forrespectableoccupationsandintellectualtourism.Thesedentarypopulationoftheupperfloorswasshelteredfromtheinfluencesofthestreet.Thisneighborhoodhasremainedthesame.Itwasthestrangesettingofourstory,whereasystematicquestioningofallthediversionsandworksofasociety,atotalcritiqueofitsideaofhappiness,wasexpressedinacts.Thesepeoplealsoscorned"subjectiveprofundity".Theywereinterestedinnothingbutanadequateandconcreteexpressionofthemselves.Voice2(Debord,monotone):Humanbeingsarenotfullyconsciousoftheirreallife-usuallygropinginthedark;overwhelmedbytheconsequencesoftheiracts;ateverymomentgroupsandindividualsfindthemselvesconfrontedwithresultstheyhavenotwished.Voice1 - Theysaidthatoblivionwastheirrulingpassion.Theywantedtoreinventeverythingeachday;tobecomethemastersandpossessorsoftheirownlives.Justasonedoesnotjudgeamanaccordingtotheconceptionhehasofhimself,onecannotjudgesuchperiodsoftransitionaccordingtotheirownconsciousness;onthecontrary,onemustexplaintheconsciousnessthroughthecontradictionsofmateriallife,throughtheconflictbetweensocialconditionsandtheforcesofsocialproduction.Theprogressachievedinthedominationofnaturewasnotyetmatchedbyacorrespondingliberationofeverydaylife.Youthpassedawayamongthevariouscontrolsofresignation.Ourcamerahascapturedforyouafewaspectsofaprovisionalmicrosociety.Theknowledgeofempiricalfactsremainsabstractandsuperficialaslongasitisnotconcretizedbyitsintegrationintothewhole"”whichalonepermitsthesupersessionofpartialandabstractproblemssoastoarriveattheirconcreteessence,andimplicitlyattheirmeaning.Thisgroupwasonthemarginsoftheeconomy.Ittendedtowardaroleofpureconsumption,andfirstofallthefreeconsumptionofitstime.Itthusfounditselfdirectlyengagedinqualitativevariationsofeverydaylifebutdeprivedofanymeanstointerveneinthem.Thegrouprangedoveraverysmallarea.Thesametimesbroughtthembacktothesameplaces.Noonewenttobedearly.Discussiononthemeaningofallthiscontinued...Voice2 - "Ourlifeisajourney"”Inthewinterandthenight."”Weseekourpassage..."�Voice1 - Theabandonedliteratureneverthelessexertedadelayingactiononnewaffectiveformulations.Voice2 - Therewasthefatigueandthecoldofthemorninginthismuch-traversedlabyrinth,likeanenigmathatwehadtoresolve.Itwasalooking-glassrealitythroughwhichwehadtodiscoverthepotentialrichnessofreality.Onthebankoftherivereveningbeganonceagain;andcaresses;andtheimportanceofaworldwithoutimportance.Justastheeyeshaveablurredvisionofmanythingsandcanseeonlyoneclearly,sothewillcanstriveonlyincompletelytowarddiver搜索引擎优化bjectsandcancompletelyloveonlyoneatatime.Voice3(younggirl):Noonecountedonthefuture.Itwouldneverbepossibletobetogetherlater,oranywhereelse.Therewouldneverbeagreaterfreedom.Voice1 - Therefusaloftimeandofgrowingoldautomaticallylimitedencountersinthisnarrow,contingentzone,wherewhatwaslackingwasfeltasirreparable.Theextremeprecariousnessofthemeansofgettingbywithoutworkingwasattherootofthisimpatiencewhichmadeexcessesnecessaryandbreaksdefinitive.Voice2 - Oneneverreallycontestsanorganizationofexistencewithoutcontestingallofthatorganization’sformsoflanguage.Voice1 - Whenfreedomispracticedinaclosedcircle,itfadesintoadream,becomesamererepresentationofitself.Theambianceofplayisbynatureunstable.Atanymoment"ordinarylife"�canprevailonceagain.Thegeographicallimitationofplayisevenmorestrikingthanitstemporallimitation.Anygametakesplacewithinthecontoursofitsspatialdomain.Aroundtheneighborhood,arounditsfleetingandthreatenedimmobility,stretchedahalf-knowncitywherepeoplemetonlybychance,losingtheirwayforever.Thegirlswhofoundtheirwaythere,becausetheywerelegallyunderthecontroloftheirfamiliesuntiltheageofeighteen,wereoftenrecapturedbythedefendersofthatdetestableinstitution.Theyweregenerallyconfinedundertheguardofthosecreatureswhoamongallthebadproductsofabadsocietyarethemostuglyandrepugnant:nuns.Whatusuallymakesdocumentariessoeasytounderstandisthearbitrarylimitationoftheirsubjectmatter.Theydescribetheatomizationofsocialfunctionsandtheisolationoftheirproducts.Onecan,incontrast,envisagetheentirecomplexityofamomentwhichisnotresolvedintoawork,amomentwhosemovementindissolublycontainsfactsandvaluesandwhosemeaningdoesnotyetappear.Thesubjectmatterofthedocumentarywouldthenbethisconfusedtotality.Voice2 - Theerahadarrivedatalevelofknowledgeandtechnicalmeansthatmadepossible,andincreasinglynecessary,adirectconstructionofallaspectsofaliberatedaffectiveandpracticalexistence.Theappearanceofthesesuperiormeansofaction,stillunusedbecau搜索引擎优化fthedelaysintheprojectofliquidatingthecommodityeconomy,hadalreadycondemnedaestheticactivity,whoseambitionsandpowerswerebothoutdated.Thedecayofartandofallthevaluesofformermoreshadformedoursociologicalbackground.Therulingclass’smonopolyovertheinstrumentsweneededtocontrolinordertorealizethecollectiveartofourtimehadexcludedusfromaculturalproductionofficiallydevotedtoillustratingandrepeatingthepast.Anartfilmonthisgenerationcanonlybeafilmonitsabsenceofrealcreations.Everyoneunthinkinglyfollowedthepathslearnedonceandforall,totheirworkandtheirhome,totheirpredictablefuture.Forthemdutyhadalreadybecomeahabit,andhabitaduty.Theydidnotseethedeficiencyoftheircity.Theythoughtthedeficiencyoftheirlifewasnatural.Wewantedtobreakoutofthisconditioning,inquestofanotheru搜索引擎优化ftheurbanlandscape,inquestofnewpassions.Theatmosphereofafewplacesgaveusintimationsofthefuturepowersofanarchitectureitwouldbenecessarytocreatetobethesupportandframeworkforlessmediocregames.Wecouldexpectnothingofanythingwehadnotourselvesaltered.Theurbanenvironmentproclaimedtheordersandtastesoftherulingsocietyjustasviolentlyasthenewspapers.Itismanwhomakestheunityoftheworld,butmanhasextendedhimselfeverywhere.Peoplecanseenothingaroundthemthatisnottheirownimage;everythingspeakstothemofthemselves.Theirverylandscapeisalive.Therewereobstacleseverywhere.Therewasacohesionintheobstaclesofalltypes.Theymaintainedthecoherentreignofpoverty.Everythingbeingconnected,itwasnecessarytochangeeverythingbyaunitarystruggle,ornothing.Itwasnecessarytolinkupwiththemasses,butweweresurroundedbysleep.Voice3 - Thedictatorshipoftheproletariatisadesperatestruggle,bloodyandbloodless,violentandpeaceful,militaryandeconomic,educationalandadministrative,againsttheforcesandtraditionsoftheoldworld.Voice1 - Inthiscountryitisonceagainthemenoforderwhohaverebelled.Theyhavereinforcedtheirpower.Theyhavebeenabletoaggravatethegrotesquenessoftherulingconditionsaccordingtotheirwill.Theyhaveembellishedtheirsystemwiththefunerealceremoniesofthepast.Voice2 - Years,likeasingleinstantprolongedtothispoint,cometoanend.Voice1 - Whatwasdirectlylivedreappearsfrozeninthedistance,fitintothetastesandillusionsofanera,carriedawaywithit.Voice2 - Theappearanceofeventsthatwehavenotmade,thatothershavemadeagainstus,nowobligesustobeawareofthepassageoftime,itsresults,thetransformationofourowndesiresintoevents.Whatdifferentiatesthepastfromthepresentispreciselyitsout-of-reachobjectivity;thereisnomoreshould-be;beingissoconsumedthatithasceasedtoexist.Thedetailsarealreadylostinthedustoftime.Whowasafraidoflife,afraidofthenight,afraidofbeingtaken,afraidofbeingkept?Voice3 - Whatshouldbeabolishedcontinues,andwecontinuetowearawaywithit.Weareengulfed.Weareseparated.Theyearspassandwehaven’tchangedanything.Voice2 - Onceagainmorninginthesamestreets.Onceagainthefatigueofsomanysimilarlypassednights.Itisawalkthathaslastedalongtime.Voice1 - Reallyhardtodrinkmore.Voice2 - Ofcour搜索引擎优化nemightmakeafilmofit.Butevenifsuchafilmsucceedsinbeingasfundamentallydisconnectedandunsatisfyingastherealityitdealswith,itwillneverbemorethanare-creation"”poorandfalselikethisbotchedtravelingshot.Voice3 - Therearenowpeoplewhopridethemselvesonbeingauthorsoffilms,asotherswereauthorsofnovels.Theyareevenmorebackwardthanthenovelistsbecausetheyareunawareofthedecompositionandexhaustionofindividualexpressioninourtime,ignorantoftheendoftheartsofpassivity.Theyarepraisedfortheirsinceritysincetheydramatize,withmorepersonaldepth,theconventionsofwhichtheirlifeconsists.Thereistalkoftheliberationofthecinema.ButwhatdoesitmattertousifonemoreartisliberatedthroughwhichTom,DickorHarrycanjoyouslyexpresstheirslavishsentiments?Theonlyinterestingventureistheliberationofeverydaylife,notonlyintheperspectivesofhistorybutforusandrightaway.Thisentailsthewitheringawayofalienatedformsofcommunication.Thecinema,too,hastobedestroyed.Voice2 - Inthefinalanalysis,starsarecreatedbytheneedwehaveforthem,andnotbytheirtalentorlackoftalentorevenbythefilmindustryoradvertising.Miserableneed,dismal,anonymouslifethatwouldliketoexpanditselftothedimensionsofcinemalife.Theimaginarylifeonthescreenistheproductofthisrealneed.Thestaristheprojectionofthisneed.Theimagesoftheadvertisementsduringtheintermissionsaremoresuitedthananyothersforevokinganintermissionoflife.Toreallydescribethiseraitwouldnodoubtbenecessarytoshowmanyotherthings.Butwhatwouldbethepoint?Bettertograspthetotalityofwhathasbeendoneandwhatremainstobedonethantoaddmoreruinstotheoldworldofthespectacleandofmemories.1.Thisfilm,whichevokesthelettristexperiencesattheoriginofthesituationistmovement,openswithshotsoftheParisdistrictfrequentedbythelettristsintheearly1950s.

本片荣获第43届法国克莱蒙费朗短片片子节大奖,并入围第93届奥斯卡最佳真人短片短提名名单。报告一个加纳男孩跟一个加纳女孩“不测”与一个本国成年人结识,但是相处一段时光后,两个孩子发明事件似乎并非那么简略......（来自@華堅馮力士）

内详

奖项：入围第22届香港IFVA独破短片及影像媒体节公然组

本片故事配景设置在19世纪五十年月的英国,AliceLawson是一档美食节目标主播,也是一位严厉自律的老婆。是日晚上,Alice同如今一样停止任务,买好蔬菜预备回家替家人做晚餐,但是不巧碰到了大雨,心坎本就不安定的她堕入了歇斯底里的惊恐中。她暂时转变筹划,径自一人在旅店留宿,而此时的她并不晓得这一决议将彻底转变她的生涯。

生涯,总搞的人措手不迭。JOJO与MAX分别,各自从新动身。爷爷带着VANDA出逃,帮她逾越父亲这座大山。阿丽静静地为劳碌的阿丽丈夫预备了他等待已久的礼品,一家人踏上回家的路。三组人物各自奔向本人的“心之所向”。

新春将至,小池镇又涌现狐妖作怪,且看双女主联袂破解谜团。

　　帕姆（李海娜 饰）是一个年青俏丽的女人,从前间在本国留学,现下刚回到海内。帕姆素性酷爱自在,神往自在自在的生涯,就在她认为如许的日子将要继承之时,一个突如其来的小侄女UK（Natthay Ongsritragul 饰）溘然离开了帕姆的身边,帕姆不得不承当起照料UK的职责。　　刚开端,帕姆对着UK这个古灵精怪的小家伙觉到不知所措,闹出了不少的笑话,但是跟着时光的垂垂推移,两人之间居然发生了坚固的默契跟亲情。与此同时,帕姆家隔邻的一位名叫百斯特（Anavil Charttong 饰）的漂亮男孩,由于UK的存在而跟帕姆垂垂发生了交加。但是,UK跟帕姆之间的关联却并不如设想之中那样简略。

　　大年夜,浓烈的春骨气氛中,葛优离开了一处神奇的“造相馆”,在过年之际,要拍一张有故事的相片。迪丽热巴!华晨宇!陈飞宇三位“造相师”死后白色的大幕渐渐翻开,葛优开端了一段奥妙的“造相”路程。兴许换一种角度审阅,人生的每一个霎时都布满了惊喜。

　　陈卓淇在考取驾照后,始终素性能占有一辆属于本人的汽车,无法父亲对本人买车的设法严加叱责。在徘徊无法之际,陈卓淇追随友人离开草原支教,小友人布满童真的脸庞,朴实的语言,让陈卓淇理解妄想要靠本人去实现。回到都会后,陈卓淇为妄想支付种种尽力,并开端在汽车之家论坛红人馆发帖。终极,陈卓淇回到草原,为那边的小友人送去礼品,实现他们的妄想,而陈卓淇也在一步步的生长中理解到了妄想的真理。

Jules,18yearsold,reluctantlyspendshisholidaysinthenaturistcampsiteofhischildhood.HeistornbetweenhisattractionforthebeautifulKarim,aseasonalworkeronthetextilebeach,andthedepressionofhismotherAdèle,whorefusestolethimgrowup.

一对漂亮帅气的同性爱情侣——赛巴斯蒂安（Sébastien Charles 赛巴斯蒂安?查尔斯 饰）跟卢克（Frédéric Mangenot 饰）离开某海滨浴场度假。张杨的卢克用灌音机播放Sheila演唱的名曲「Bang Bang」,并跟着歌声扭动健美的腰肢。赛巴不肯惹起四周人的存眷,径自一人离开海滨裸泳。当他正享用暖和的阳光时,俏丽的男子露西娅（Lucia Sanchez 饰）以借火之名带赛巴走进灌木丛,两人享用了无上的欢愉。当他们回到海滩时却发明,赛巴的衣裤已全体被人偷走,他只能穿戴露西娅的连衣裙回到居处……本片荣获1997年洛杉矶Outfest片子节不雅众奖出色剧情短片奖。

Drop depicts a brief rooftop encounter between two disparate yet intertwined individuals in London's (UK) Financial District. Stars Russell Tovey and Antony Edridge.

节目存案编号：1904073140202267 - 男配角肖童每过一次诞辰,就会掉落一种情感。他当心翼翼的掩盖着本人的机密,却照旧认为跟天下心心相印。女配角朵儿晓得他的机密,她也成为了肖童独一的倾吐工具。终极肖童会怎么挽留本人最贵重的情感——快活！而他丧掉了的情感能否还无机遇被找回！！

　　Ji-sun跟Chae-yeon從高中開始来往,也上统一所大學,她們异常隱密!絕對不讓外界晓得兩人關係。在畢業前的聚會上,擔任學生會長的男同學卻要Ji-sun幫他追Chae-yeon,Chae-yeon得悉後竟假裝示好,以不致讓人開始懷疑,卻令Ji-sun深感不是味道。

Golden Bear for Best Short Film (win) - 2004 - Berlin International Film Festival

张作骥导演狱中与牢友的独特创作。改编自同名短篇小说,报告八名出错入牢狱的收留人,在开释的光阴里,天天就是以期待的心境过日子。八人加起来超越100多年刑期的日子里,会有什么样的变乱震动他们的性命,让他们看到人生里差其余景致,走出身掷中的迷雾呢！

送外賣送出真情感。香港外賣仔愛上居港外籍贩子 外乡美食跟70年月的音樂將二人連繫起來 然而階級位置的差别卻可能是這段關係的阻力

14岁男孩Carey正在为第一次共舞做预备,他的爸妈很猎奇舞伴是哪个女孩,但最后他们发明Carey的舞伴也是男孩……

男孩托拜厄斯（Tobias）在一家医疗机构中接收医治。在这里,孤独的他碰见了一位名叫埃米尔（Emil）的男孩。与托拜厄斯的性情相反的埃米尔对他们的处境有着与托拜厄斯完整差其余意见。两位男孩在一每天的相处中成为了密切的错误,没想到这却成为了对托拜厄斯的伤害的磨练。

阿杰在回家的路程中撞上名劈面跑來的生疏人,竟從對方口中發現一道指导並找到一個玄色盒子,盒中錄音機傳出懷怀孕孕的老婆被抓走的訊息。阿杰必須遵守盒中[伊菲基妮亞之夜]的应用手冊,才有可能將老婆救出。

本片透過四對男女!四段關係,以交錯敘事的方法,呈現出這時代愛情的輪廓,他們分別是[社青跟酒女]![男子跟老婆]![白叟跟校花]以及[女人跟男孩]。生机每個觀眾都能够在這四段關係中,找到本人性命記憶中的一段過往；或许,正在面對的進行式……

导演!女演员!传授跟先生相约在山长直接午后约会。上山途中,导演莫名听到枪声,彷彿天启的声响。他兴趣勃勃跟教师描写贰心中的片子片断,而女演员到来,这些对于片子!对于导演与女演员的生涯!也对于教师与先生的情感,逐步地被戳破。渺茫午后,板屋外的餐桌上剩下四个窘迫的魂魄,而导演心外头的抢匪也仍是被困在银行铁门内,好像困兽。

导演王家军继「绀珠之地」在釜山短片影展拿下最佳影片后,往年最新的作品品由五位小男孩担负上演,全无大人介入。五个小先生趁着自习课溜出校外,离开山上放弃的旧黉舍探险,他们想在春分时辰,拍摄由南洋北返经由台湾的灰面鹫,来加入竞赛,生机掉掉落校花的颁奖。可憎又无聊的对话,随同着摔断乳牙而造诣了无悔的童年时间。

周末,来自菲律宾的家庭关照工Jane离开东协广场,由于一首歌曲,相逢了同样来自菲律宾的Randy。两人结伴在东协广场里消磨时间,似乎成为相互的乡愁解药。特性外向的Jane对Randy垂垂地关闭心房,但他乡的女人与男子,犹如童话灰女人,但事实总不会是永久的幸福与快活。

五歲女孩隨母親奔喪,大人跟女孩有著各自的儀式。夜裡,小表哥們因故打了起來,沒有了祖父的制衡,長輩們同樣為了家事互不相讓。一片混亂的情況下,女孩能怎样面對！

礼拜五!球場!冰淇淋!口水病!美女!男孩。

它多少乎是无处可逃的。灰色的天空覆盖在无人栖身的室庐区!稀少的丛林跟湿润的碎石地上。在这里,在这些烦闷的情况中,Sabine跟Natasha漫无目标地开车,喝着啤酒,在车的引擎盖上跟一些不起眼确外地男孩做爱。而后,有一天早上,娜塔莎不上车。她决议搬走。这是一个致命的离其余开端。                                                                    It is pretty much the middle of nowhere. Grey skies loom over faceless housing estates, sparse forest and wet gravel lots. Here, in these dreary surroundings, Sabine and Natacha drive around aimlessly, drinking beer and having sex with nondescript local boys on the bonnet of the car. Then, one morning, Natacha does not get into the car. She has decided to move away. It is the start of a fatal farewell.

大年节离开,小女孩终于可以见到歌手母亲。只管妈妈在五灯奖五度五关,但亲戚照旧对她指指导点。劳碌的告示排到大年夜,母亲只能长久陪同杨岚,便又要继承赶劳碌的告示。面临母亲的出席!父亲的离世,好强的杨岚只能在夜深人静时径自面临,本人找到把口中那颗烂牙拔掉落的办法。

禁養寵物的公寓裡,房東兒子小洋無視母親的忠告, 仍常跑樓上,與酒女佃农的女兒晴晴偷偷來往。日漸 抽芽的幼稚友誼,不顧住戶公約第一條的禁令,私下 豢養貓咪,也成為兩人獨有的約定。一日,晴晴無故 曠課,當小洋匆忙跑回公寓尋找,卻發現刺鼻的奇異 怪味已悄悄洩露門房背後的駭俗机密。

一艘远洋渔船,一位抓黑鲔鱼的老船主；一位跟船主同事多年,预备退休的轮机长；一位上船曾经8 - 年,通台语也通一点英文 的菲律宾渔工领班；一位什么都不会,但由于仲介说下台湾船赚比拟快,就跑来讨海的印尼人。每个在船上的人都有本人的目标,也都有本人的念想。                                                                    大海中,船面!船舱,就是天下的全体,船上全部的喜怒哀乐都被缩小,相互碰撞!交错,让人逃不开,避不掉落。