伊斯坦布尔受到政治暴力的控制。 Hamza, 是一名高级政治官员,制服线他从监狱里释放了 Kadir,制服线条件是Kadir要在垃圾收集器的新情报单位工作。Kadir 答应了,开始从贫民窟收集垃圾,并检查它是否包含制造炸弹的材料。可Kadir 发现他的弟弟Ahmet身在其中,Ahm et 在市政当局工作,并负责一件清除流浪汉的行动……
伊斯坦布尔受到政治暴力的控制。 Hamza, 是一名高级政治官员,制服线他从监狱里释放了 Kadir,制服线条件是Kadir要在垃圾收集器的新情报单位工作。Kadir 答应了,开始从贫民窟收集垃圾,并检查它是否包含制造炸弹的材料。可Kadir 发现他的弟弟Ahmet身在其中,Ahm et 在市政当局工作,并负责一件清除流浪汉的行动……
回复 :法国导演Pascal-Alex Vincent拍摄的纪录片《今敏:造梦机器》发布预告,细田守、押井守、罗德尼·罗斯曼、林原惠美、岩男润子、丸山正雄等人均有出场。这部纪录片原计划是为去年今敏逝世十周年之际制作的,但因故没能如期上映。《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。”
回复 :故事发生在上世纪民国年间。道景(王同辉 饰)是江阳县知事呂敬仁(王庆祥 饰)的公子,此公子有两大癖好,自幼对女人不感兴趣,单与貌美男子狎猊,并有收藏女性衣饰及精美银饰怪癖。其妻碧兰(孟尧 饰)婚后等于守活寡,她对丈夫的淫匿行为深恶痛绝,不甘白来人世一回的碧兰终于红杏出墙,与宣恒银饰银匠少恒(谷洋 饰)好上了。纸里终究包不住火,此事被公爹吕敬仁察觉,他表面不动声色,暗地里想招。这天,他以明德府内女眷做银饰为名,让碧兰将少恒请入府内,密谋毒死少恒,然后嫁祸与其偷情的碧兰,再借老银匠(严顺开 饰)之手将碧兰除掉。一切如愿后,闻讯的道景赶回家中,他从行将自尽的老银匠口中得知了事情的原委,万念惧灰的道景身着银饰女装,走向了亡妻的坟头……
回复 :苏利曼和“苏丹电影俱乐部”的另外三名成员决定重振一家旧电影院。他们不仅因为对电影的热爱和对恢复旧电影存量、再次关注苏丹电影历史的强烈渴望而团结在一起,而且因为他们都曾在流放中接受过电影教育。不知疲倦地,他们试图让影院老板站在他们一边,让这个地方重新运作起来,但他们一再发现自己遭到了相当大的阻力。同时,他们坐在一起谈论过去——包括他们作为对立艺术家遭受迫害甚至折磨的经历。他们还朗读流亡和梦想苏丹时写的旧信,在那里艺术和智力思想可以自由。“我们比他们聪明,但不如他们强大,”他们一致总结了他们的处境。正是在这些简洁的时刻,观众才能够感知到友谊,以及在为共同理想而斗争中存在的纽带和意识形态的团结。苏哈伊布·加斯梅尔巴里把苏丹电影的历史放在影片的中心,同时也揭示了一个受到持续危机影响的国家的现状Suliman and three further members of the ‘Sudanese Film Club’ have decided to revive an old cinema. They are united not only by their love of cinema and their passionate desire to restore old film stock and draw attention to Sudanese film history once more, but also by the fact that they have all enjoyed a film education in exile. Tirelessly, they try to get the cinema’s owners on their side and make the place operational again, but repeatedly find themselves up against considerable resistance. In the meantime, they sit together and talk about the past – including their experiences of persecution and even torture as oppositional artists. They also read out old letters written while in exile and dream of a Sudan in which art and intellectual thought can be free. ‘We are smarter than them, but not as strong,’ is how they unanimously summarise their situation. It is in laconic moments such as these that the viewer is able to perceive the friendship, as well as the bond and ideological solidarity that exists in the struggle for common ideals.Suhaib Gasmelbari puts the history of Sudanese cinema at the centre of his film and at the same time sheds light on the current situation in a country shaken by ongoing crises.