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A painter sees the silHouette of a man appear in the distance. Intrigued, she decides to follow him, but the man disappeared. Flirting with the absurd, the film explores our difficulties in seeing and representing in a world where reality seems increasingly elusive.
今は誰も住むことのなくなった、祖母が暮らしていた家。縁側や居間に窓から差し込む太陽の光の温かみや、時折聞こえる祖母が好きだった電車の音が郷愁を誘う。やがて日が暮れると「可愛がっていた猫のじろちゃん」が現れ、家の中を闊歩する。コマ撮りや合成を駆使し、静謐な空間に命の痕跡を宿していく、祖母を偲ぶ心情に溢れた作品。
Bedri Rahmi Eyüboğlu has left his mark on history as a multifaceted figure, known both for his ability to balance family life with his artistic career and for the successful students he nurtured, who made significant contributions to Turkish art. By blending his devotion to Anatolian folklore with aesthetics and channeling this into poetry, he brought a fresh perspective to Turkish cultural life. He meticulously documented his unique artistic vision and outlook on life through his own films. For this documentary, we carefully distilled and compiled 8.5 Hours of vibrant 8mm footage that offers a first-hand glimpse into how a significant figure like Bedri Rahmi viewed life and art. The documentary is enriched by the memories of friends, students, and family members, and was edited using these visual archives. It is further brought to life through interviews with esteemed figures such as Ara Güler, Cengiz Bektaş, and Devrim Erbil, gaining additional depth through the personal experiences of his family members.
8.0分 根据《BLEACH 死神》最终章改编，黑崎一护重返代理死神的岗位，曾经被封印的灭却师之王组成“看不见的帝国”。他们攻占虚圈，并向尸魂界宣战，这场千年血战即将迎来最终章！
Mother’s Household ledgers contain a lifetime of arduous years. While her memory fades as she grows older, the details of her daily life, meticulously recorded in the Household ledgers for 48 years since 1969, remain as traces of her existence. Director Seong Seungtaek discovered these ledgers among his elderly parents’ belongings when they moved in together after 30 years apart. Carefully examining those records, which are both precious documentation of his family history and his mother’s intimate diary, the director creates another important historical document. As Mother’s Household Ledger gradually intertwines the family story with modern Korean history and their shared memories, our hearts are profoundly stirred. The mother wrote down the passage of time, and the son now illuminates the world imbued with that time.
茫茫白雪中，卡洛正在修復他佇立於長河邊兩個世紀的木造房子。 二戰時，羅瓦涅米超過九成的建物被戰火摧毀。在現代建築構築的城鎮中，這棟房子見證著百年來的變遷，承載著歷史重量。身為長子的卡洛計畫用父親從小交給他的技法，讓這棟背負著家族記憶的房子重回過去的容貌。而來自異鄉的導演，透過傳統攝影手法，紀錄著轉變的痕跡，捕捉老舊窗框與木牆紋理中的情感。 本片拍攝長河邊最後的木房子——一個家族傳承、猛烈戰火，與異鄉人的交會點。紀錄雪地中人物情感交織的故事，探討歷史存留的意義。
Leïla, a young woman of Moroccan descent, has returned to Corsica where she was born, to visit the grave of her stillborn child. A conversation with her brother Amine, who stayed in Bastia, brings up her doubts of burying there. Between Corsica, the mainland and Morocco, Leïla ponders her identity.
A real estate agent struggles to sell his own House.
In a world where it is more common for people to live in automobiles than in Houses due to inflation, downpayments, and rental prices, Myung-Eun, who lives in her compact, yet cozy car, conspires with Sun-Woo, who lives in a tent, to pose as newlyweds in order to land their spot in the Royal Palace Parking House’
A Dying Leaf SHould Be Able to Carry the Weight of the World is a visit to the botanical garden and museum in Cluj-Napoca, a journey through time and space, a discovery of plants with unknown stories, of plants that don’t exist anymore, of plants that can tell us as much about the past as they can about the future. Fossils, herbs and botanical illustrations are witnesses of the past, proof of evolution and change, but also prophets of what is yet to come. A visit at a botanical museum in Cluj, 2023; a close look through a tourist booklet about the same museum, published in 1979. In Thea Lazăr’s film, the voiceover animates an open essay, a mix of poetry and theory, about, on the one hand, the power of botanical conservation as a science, and, on the other, the ideological limits of museum practices: the violence of knowledge. Lazăr exalts the image of plants, the magical understanding of them, as a self-existing landscape, and not as a mere backdrop for human civilization. The film’s climax bears fruit to that tHought when the images of the greenHouse turn abstract, melting into 3D animations of a wild landscape: the revenge of the moving image against the culturally fixed one. (Călin Boto)
오랫동안 사람이 거주하지 않은 빈집에 유리관이 씌워진 나무 박스들이 놓여 있다. 장면은 흡사 고립된 미술관, 자원이 고갈된 근미래, 내부 공사 중인 사가처럼 보이기도 한다. 박스 위의 과실이 썩어가는 과정을 담은 장면에 구상도를 연구하는 일본인과 주고받은 서신이 갈마든다.
Korean Variety Hour, produced by KBS in 1976, captures how Koreans of that era wished to present themselves to a foreign audience. Nearly 50 years later, KBS produced the documentary series Modern Korea, which, with the advantage of a half-century of hindsight, presents images of Korea's past witHout any additional commentary. By juxtaposing these two programs, the film invites viewers to reflect on how much, or how little, Koreans' perspectives and self-representation have changed over time.
A south-facing House stands in Gyeonggi Province. Within its walls reside four people: mom, dad, grandpa, and me.
A person travels to her birthplace, searching for her lost home/roots. She meets peopleHouses, hybrids who come to life before her eyes and, swallowing her, pull her into their "circle dance". After the trip, the person returns to the city and inhabits various spaces. As she relaxes with her cats, she has a transformative experience, resulting in her becoming a womanHouse, i.e. she becomes her own home.
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