Mexico is one of the world’s most dangerous countries for journalists. But courageous reporters continue to do their work regardless; without the press there would be no one revealing the extent to which crime and politics are intermingled. The judicial system hides behind claims of insufficient evidence to prosecute crimes, while journalists are the ones who provide such evidence. In State of Silence four journalists discuss their work. One of them investigates illegal logging and environmental pollution, while another writes about police violence against migrants attempting to cross the border. The risks are great, and threats are commonplace. Almost 200 reporters have disappeared or been murdered since 2000. A law was passed under President López Obrador enabling journalists and human rights activists to seek refuge in the US—but doesn’t leaving everything that you love behind you, mean the criminals have won? Some of the journalists return to Mexico because their work is too important. “When a journalist is murdered,” says one of them, “society’s right to be informed dies, too.”
The Paragon is the story of DUTCH, the crippled and angry victim of a hit and run, who takes a course on how to be psychic so he can find the car that hit him and take revenge on the driver. But when his teacher ,LYRA, draws him into her search for a mysterious crystal known as THE PARAGON, Dutch finds himself trapped in a parallel universe and on the run from Lyra's evil brother HAXAN and his band of psychic slaves.
Colombian music icon Juanes plays Moisés, the eldest of three brothers plying this perilous trade and the linchpin of the operation, while Alberto Guerra delivers a compelling performance as Ulises, a man paralyzed by conflicting decisions and haunted by fear and grief. When Juan (Alejandro Speitzer) — the youngest of the brothers — is coerced into working for a more powerful, rival criminal organization, the shocking underbelly of the business is laid bare and there are tragic consequences.
Vera and André are a couple who get the chance to pitch their business at a prestigious competition. Before the competition, Vera tries hypnotherapy to quit smoking, with an unexpected side effect: she loses all social inhibitions. André has a hard time dealing with this. When it risks ruining his career, he’s torn between accepting her new personality and taking drastic measures to make her stop.
作家 Jasmijn 在造成致命事故后面临着严重的写作障碍。她只剩下写给受害者鳏夫维姆的无数未回信。贾斯敏意识到她不能继续这样的生活,并做出了一个相当激进的决定。她没有告诉任何人,就收拾好行李前往摩洛哥,维姆在那里经营一家酒店。当她的姐姐和她的出版商试图找出她在哪里时,贾斯敏和维姆在摩洛哥的阳光下建立了意想不到的友谊。只有贾斯敏还没有找到合适的时机告诉他她的真实身份。
塞缪尔(汉斯·齐施勒 Hanns Zischler 饰)和科拉(西比勒·卡诺尼卡 Sibylle Canonica 饰)结婚多年,两人共同抚养着九岁的儿子尼古拉斯(Finn Kirschner 饰),日子在日复一日的平静之中缓慢的流逝着。然而一场噩梦突然降临到了这个家庭的头上,一天,尼古拉斯失踪了。 负责此案的犯罪心理学家梅尔内特(马蒂娜·戈黛特 Martina Gedeck 饰)介入到了这个家庭之中,在和科拉的相处过程中,梅尔内特逐渐察觉出了一丝诡异的气氛。一段令人震惊的录像带在校园之中传播开来,被囚禁的尼古拉斯正是录像带中的主角。录像带的出现让整个事件开始动摇和发酵,梅尔内特坚信,在这个看似美满的家庭之中,隐藏着不可告人的秘密。
Based on the book of The Shadow World, this feature length documentary is an investigation into the multi-billion dollar international arms trade. Directed by Johan Grimonprez and based on Andrew Feinstein’s globally acclaimed book The Shadow World: Inside the Global Arms Trade, the film SHADOW WORLD reveals how the international trade in weapons - with the complicity ofgovernments and intelligence agencies, investigative and prosecutorial bodies, weapons manufacturers, dealers andagents - fosters corruption, determines economic and foreign policies, undermines democracy and creates widespreadsuffering. SHADOW WORLD posits an alternative through the experience of a peace activist and war correspondent, aswell as the stories of Eduardo Galeano. But ultimately the film reveals the real costs of war, the way the arms trade drives it, how the weapons ofwar are now being turned against the citizens of liberal democracies, and how the ‘shadow world’ is taking over. In the hopes that in understanding how our realties are being constructed, audiences may see through this horror, and create a better future… (more info on cinando.com)
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
In every movie that he watches, 16-year-old Andoy creates narratives that could help him find answers to the questions that have always bothered him: Who is he and who is his father? While the truth remains elusive, his imaginings remain unrealized until two movie-like characters appear in their barrio - Ariel, a hairdresser who lures young men with his inexplicable charm, and Isidro, a mysterious, long-haired man who owns a VCD player. Andoy finds himself entranced with Ariel and Isidro and begins to spend intimate time with them. As he gets entangled with their twisted lives, his reality becomes mystified. Just like the movies, Andoy must decide whether to conclude his years-long search for his father with a bang or with a whimper.
当一方发现另一方不忠之后,两人看似完美的夫妻关系开始动摇,但情感关系的维系又谈何容易呢?
The action takes place in a grim anarchist future civilization after a big crash or war. A young man, Allan (Bentein Baardson), decides to move out of the city as his family live in. He brings his wife, Lisa ('Petronella Barker'), and the son to a big garbage dump located outside the city. Where they settle and survive on the waste they find on the dump. They are in many ways more closely related to each other by living this way, and Lisa eventually becomes pregnant. But there is a great shortage of water (Sweetwater) and the family of three must go out and look for water. When they discover they are not alone in staying in landfill. It will be a struggle for existence.
Konstantin Gudauskas is a Jew born in Kazakhstan, but received political asylum in Ukraine. After the Russian invasion begins on 24 February 2022, he is able to travel freely to the occupied territories and evacuate civilians from there thanks to his Kazakh passport. During the next months he saves 203 people by taking them out of the occupied territories. Konstantin observes firsthand the horrors of war and the atrocities of the Russian occupation. Throughout this time he is advised and guided by a woman, Haide Rizaeva, a Crimean Tatar, employee of the Main Intelligence Directorate.
Tells the story of Hassan - a security guard living an impoverished life with his mother who dreams of traveling and living abroad. One day he stumbles on the sport of blind soccer and cunningly decides to pose as a visually impaired man to join a team right before the World Cup tournament in Europe.