Marta Pajek (digitally) created a complex, atmospheric universe – with minimalist means and yet rich in detail. References to contemporary history meet visions of an intuited, dystopian future. We are made aware of (our own) transience in subtle, but almost brutal ways. Ageing bodies, ageing ideas. In the end, the grande dame of Polish cinema, actor Anna Polony, sings: “… when will we ever learn?”

日本代表性的动画艺术家水尻自子的最新短片。水尻自子出身日本青森县十和田市。其作品常以人体的一部分或生活中常见的物体作为题材，重视对感触的表现，在世界范围内颇负赞誉。新作将圆润的人体，以及对此产生压迫感的日常事物同时纳为描绘的对象，试图表现出“感触”本身，对其一贯创作风格进行了深化。作品的音响由水尻自子长年喜爱的音乐家本田由香担纲。
作品由十和田市现代美术馆委托制作。日、法联合制片。预定于2021年在国际性电影节参展。日本首映安排在十和田市现代美术馆“Inter + Play”展第3期现场（展期：2022年1月22日～5月29日）。

在爸爸的喪禮上，小女孩回憶起去年夏天一同出遊的時光。家住日本偏遠小島上，步行即可到海邊，前門有爸爸種的奇形怪狀的松樹們，而長得像鯊魚的後山上，更常常發生許多不可思議的事情。本片由日本動畫大師山村浩二監製，取材自導演幼時經驗，以過目難忘的點描手法呈現兒童視角下的家 鄉歷史及旖旎風光。

一段两婆孙的短途旅程，面对喋喋不休的外婆，可怕回忆一一涌现，往事和现在两个时空交叠带来的双重折磨。

The steak has been marinating for a few days now. The pan is heated. Franc's stomach is rumbling. But Liza's co-workers surprise her with a birthday party. Will she be home on time?

Lured by the perfect hallucinogenic liquid, a wooden monster mother decides to carve her root baby into a human.

The winter of 1963 in Poland was the harshest in many years. Zbyszek, overwhelmed by the cold and his work in a mine, attempts to commit suicide. Only a voice-over from the TV and his love for Alina , a mine crane operator, keep him alive. Will the energy emanating from a lump of coal give him enough strength to survive? A dark and disturbing animation showing a physically and mentally exhausted man who is losing hope for a better future. The animation in the style of socialist realism posters and monuments is contrasted with elements of fantasy and miners’ beliefs, subtly woven into the plot.

戴着鹿面具的小獵人，穿過森林來到一扇窗前。探頭一看，從畫中走進作家的居室，聽到他腦海內合作夥伴的評價：這個角色很悶蛋，早早把他了結吧！自己角色自己救，索性拿起畫筆，以海洋與森林為靈感，拼貼全新自我形象。

Two ex-lovers bump into each other at a train station.

There is a house. The house starts falling apart. Roof and wall collapses, slowly revealing belongings inside the house. They too collapse and break and disappear. When all goes away, a person appears, left alone in the remains.

Swallow the Universe is a blood-and-thunder saga of a young child lost in Manchuria’s deep jungles. His sudden presence creates complete anarchy in the fauna’s primitive world, which was until then perfectly organized.

Kato is an aspiring screenwriter treading water. He spends his days pitching stories to offbeat agents and executives who are anything but impressed. Not that he has run out of ideas, they just don’t seem to go anywhere. Unlike his relationship with his girlfriend Zigzag – that one is going down the drain. Little does Kato – or anyone – know that life is about to take some seriously weird turns.
While out to buy the special brand of food for his girlfriend’s dog Cerberus, Kato discovers an abandoned convenience store that transforms his trajectory. A stumble into a refrigerator catapults him into a realm of fantastical inspiration boosted by an eccentric couple he meets along the way. Might this be the key to getting his mojo back?
Miki Satoshi (Adrift in Tokyo, What to Do with the Dead Kaiju?) returns with a surreal and quirky indie film that manages to be both charming and deeply philosophical. Teaming up with Japanese cinema expert and notable critic for The Japan Times Mark Schilling (Art, Cult and Commerce: Japanese Cinema Since 2000), Convenience Story takes you on an eccentric Dantean ride brimming with psychological tension and the zest of karma. From the purgatory of writer’s block, to a hell of an adventure, Kato’s journey is a satisfying and thoughtful tale.
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讲述一个中国女孩带着小孩从罗马逃到拉齐奥乡村的冒险。演员阵容包括他的女儿艾莎·阿基多等。

19 岁的杰西卡离开瑞典的小镇生活前往洛杉矶，目标是成为世界下一个大色情明星，但通往目标的道路却比她想象的更加坎坷。

这是地理学的奇迹。 乔纳斯研究昆虫、鱼类和植物。在花园和图书馆度过一天后，他们见面，乘坐火车离开城市，在湖边搭起帐篷。当他们读书、吃水果、漫步森林、在冰冷的水中游泳时，外面的世界感觉越来越远。一个陌生人出现，三人组成立。但也有其他三重奏、其他湖泊、不同地点、不同时间。

从一位低种姓女生写给高种姓恋人但未寄出的情书开始，采用新闻播报、家庭录像、监控、剪报、手绘等拼贴样式，揭开2015年发端于印度电影和电视学院并波及全国大学最终遭到惨酷镇压的反歧视争自由的学运大幕。

A document of one of the most famous 66 miles of railway in the world, including the Tehachapi Loop.

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

The literal frame of a window overlooking a small garden becomes the scene through which Richard Tuohy’s film exploits the myriad plastic potentialities of the cinematic frame. Immersive and stroboscopic, In and Out a Window offers its own variations on cinema’s mechanical segmentations of space and time, opening up a portal to undiscovered dimensions and new phenomenologies.