Prominent film critic Tony Rayns has long been a supporter of Korean cinema. This film illustrates Rayns’ affection for Korean cinema through interviews of Korean cineastes that have a special affinity for him, including JANG Sun-woo, LEE Chang-dong and HONG Sang-soo among others.

A series of moving interviews and encounters with four Black trans sex workers from New York and Georgia in which they talk frankly about their experiences. Questions of belonging and identity within the Black community are candidly addressed.
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Holzemer, who has previously directed documentaries about Dries Van Noten, Anton Corbijn, William Eggleston, David Lynch and several other important artists, accompanied Eidinger during the summer of 2021, when the 45-year-old actor was preparing for, and starting to play, the main part in a stage production of Everyman. The Play of the Rich Man's Death by Hugo von Hofmannsthal. The play, which became one of the hits at this year’s edition of the Salzburg Festival, provided Holzemer with an opportunity to glimpse Eidinger's intensive working method while preparing for a new role. Holzemer subsequently followed Eidinger to the USA for his first appearance in a major Hollywood production.

Mariupol lies in eastern Ukraine, where the Kalmius river flows into the Sea of Azov. The city, which is centred round the steel works, seems calm but the encroaching conflict between pro-Russian rebels and Ukrainian government forces is tangible everywhere. A theatre ensemble is rehearsing a piece to commemorate Victory Day on 9 May; as they put their hearts into practising their song and dance routines, they hope their city will not be seized on the opening night. The daughter of a cobbler tries her hand at being a war reporter in front of a camera while her father discusses his faith with his female customers. The fishermen hope, as usual, for a good catch. In spite of the explosions that can be heard all around the city’s perimeters, life goes on, accompanied by the pealing bells from the Orthodox Church and the squealing of the tram.
Following his sensitive and moving film Barzakh (Panorama 2011), which depicted the search for a man gone missing in Chechnya, director Mantas Kvedaravicius trains his camera once more on a conflict zone and observes and accompanies the people who live there. Everyday life develops a poetry of its own, which occasionally can seem absurd. berlinale 2016

法国作家、2022年诺贝尔奖得主安妮·埃诺（Annie Ernaux）以其小说和回忆录赢得了忠实的追随者（她的自传作品《事件》去年刚刚改编成备受好评的电影《发生的事》），通过这段细腻的家庭记忆之旅，为我们展示了一个宝藏。这部影片由1972年至1981年的家庭录像精美纹理的图像组成，这段时间正是她出版第一本书、她的儿子们成为青少年以及她的丈夫菲利普随身携带8毫米胶片摄影机的时候。这个画面描绘了一个个人和政治意义的时刻，带我们从法国中产阶级郊区的假期和家庭仪式，到阿尔巴尼亚、埃及、西班牙和苏联的海外之行。埃诺以自己内省的旁白配音，她和合作导演、她的儿子大卫引导观众穿越这个十年的碎片，既模糊又生动。《Super 8年代》是埃诺持续进行的文学项目的卓越视觉延伸，用以理解神秘的过去和无法预知的未来。

　　《造梦机器》是今敏未完成的遗作，讲述在遥远的未来，已经成为废墟的地球上荒无人烟，女孩丽丽可和机器人罗宾向“电力之国”进发的冒险之旅。该作的核心主题，是人的可能性：“就算现在不明白自己活着的意义，只要活下去就会生出意义和目的来。

　　《一场很（没）有必要的春晚》是一部关于春晚和海外华人思乡、过年情结的电影！影片记录了一群海外华人为了心中的信念而精心筹备了一场春晚，然而在工作过程中却困难重重，险象环生，发生了一系列令人啼笑皆非的故事。

A few years ago, Mitra Farahani had an idea. Could she engineer the encounter of two great filmmakers who, although they belong to the same generation, have never met in person: Jean-Luc Godard, the Swiss master who needs no introduction, and the lesser known Ebrahim Golestan, whose literary and film work is the bedrock of modern Iranian culture – two hermits of cinema’s technical and political revolution.
A meeting proves to be out of the question but, just as Farahani had to adapt the unforgettable Fifi Howls from Happiness after the unexpected death of her protagonist, this new setback stimulates another creative approach. Farahani suggests a correspondence, to which a hesitant Godard, playful as ever, replies: “Maybe we will not correspond to one another”. Contemplating their common and/or divergent odysseys, the maestros begin sending each other a message, every Friday, for 29 weeks. À vendredi, Robinson offers a brilliant insight into the role of the artist in the 20th and 21st centuries. With death now a tangible possibility, the two great men also consider their own end, as intellectuals and critics of the times. One thing is certain: they won’t be facing it with anything less than razor-sharp insight and, of course, humour.

1993年的台灣，那是個看電影前還要唱國歌的年代，西門町紅樓劇場仍是放映電影的戲院。在傳統文化孕育下成長的侯孝賢，帶著《戲夢人生》赴日宣傳；深受西方現代文化薰陶的楊德昌，則在台北拍攝著《獨立時代》。兩位風格迥異的導演，卻有著共同的使命——以電影，留下屬於台灣的樣貌。

從歷史觀點切入，探討台灣因戰爭殖民所帶來的複雜文化結構，貼近日常的視角，記錄兩位台灣電影巨擘，如何用各自的鏡頭語言，在《悲情城市》、《牯嶺街少年殺人事件》中，拍出台灣鄉村與都會的過去及現在。從中美建交、廟口露天電影院等活動中，爬梳政治對電影的影響，以及電影形式存在的各種可能。日本影帝柄本明擔任片中旁白，片長僅47分鐘卻彌足珍貴。

「拍攝這部紀錄片，對我後來走上電影之路，是一個非常、非常大的轉捩點。」——是枝裕和