电影筛选Lucjan is a theatre actor whose health is failing. He forgets his lines on stage and feels confused and out of place in his daily life. He decides to end his acting career and soon winds up in a nursing home. In this new place, the elderly man misses his late wife. He starts having nightmares that seem to become real. In one of them, he discovers a passage into a magical world deceptively similar to his theatre. Lucjan starts living in two parallel dimensions – real life and the fairy tale – that become increasingly dependent on each other and intertwined. His immersion in the imaginary world leads to an unexpected ending. A bittersweet treatise on passing. The fairy-tale world Lucjan creates is not so much a metaphor for death as a symbolic reconciliation to its coming.
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.
卡拉是已有婚约在身的心理治疗师埃里克魅力十足的病人。她因与有伴侣的男性上床这一癖好前来寻求心理咨询。但他们并没有去解决这个问题，反而陷入了一段难以自拔的秘密恋情。
Nina, 30, a Ukrainian language teacher who can't leave the city of Luhansk, occupied by separatists in Eastern Ukraine, is forced to undergo retraining courses for teaching Russian. Andrii, 17, is a student who was orphaned in the aftermath of the war. They cross paths when Nina witnesses Andrii being arrested by the police after hanging the Ukrainian flag from the roof of his school. Nina knows that because they live in a world of injustice and lies Andrii can stay in jail for a long time, and she risks her life to free him. As they gravitate towards each other, they try to remind people in the occupied territories that they deserve a future, too.
Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’ The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.
Far from Tel Aviv and big city crimes, Daphna, 40, a promising police officer with a big mouth, finds herself in the small town of Afula dealing with petty crimes, seeking shade from the scorching heat, taking care of her aggressive cat, but more importantly, dodging the nagging question:" When are you going to get married, and have children?". The disappearance of Orly Elimeleh, a beautiful and wild 36 year-old army widow and former beauty queen, soon raises another troubling question for Daphna - why isn't anybody looking for her? This indifference towards Orly's uncertain fate shakes Daphna to the core as she begins to identify with her and to suspect the worst. Her concern gradually consumes her life, blurs her reality and causes her to question whether she is just imagining things, or is she on the contrary, the only one seeing things clearly. Matan, the younger 34 year-old son and "black sheep" of the powerful Oheyon's, Orly's late husband's family, seems to be the only one who ...
正所谓“少要沉稳老轻狂”，年届不惑的弗兰提斯克·汉那（Vlastimil Brodský 饰）越老越有活力，他不去理会老婆艾蜜莉（Stella Zázvorková 饰）辛苦存下棺材本钱的良苦用心，也懒得搭理那个不成器儿子糟糕的婚姻。弗兰不愿面对即将到来的死亡，只想尽情享受最后的时光。他和剧院的好友艾德（Stanislav Zindulka 饰）假扮各种身份的人，从中得到无限的乐趣，却也因此惹下不少的麻烦。垂暮的生命，因一颗青春顽皮的心而充满光芒…… 本片荣获2002年克里夫兰国际电影节最佳影片奖；2002年捷克金狮奖最佳女主角奖（Stella Zázvorková）、最佳剧本奖和最佳男配角奖（Stanislav Zindulka）；2002年捷克皮尔森电影节金翠鸟奖最佳影片奖。
At Christine's funeral, her foster son suddenly shows up, a grown-up man with whom the family has been out of contact for quite some time. He brought a letter, stating that Christine wants to be buried in Wentelen, to the bewilderment of her biological children, and even more so to that of her husband. In addition to that, all the relatives are surprised that the foster son of Christine apparently maintained a correspondence with Christine. Nevertheless, Christine's last wish is respected, and they decided to bury her in Wentelen, and wish to do so traditionally, meaning: walking behind the hearse. During a walk of several days, all the relatives (foster sisters, foster father, alleged friends and real ones, the foster son, lovers) have enough time to get to know each other better. Because in the end they have no other conclusion than that nobody really knew anyone. Old intrigues are dug up, the foster sisters finally learn why the foster brother just disappeared from the family, and they can begin to develop a real image of the mother. Once Christine's final resting place is reached and she is buried, all family ties, good and bad, are shaken around.
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