电影筛选这部由电影制片人兼多媒体艺术家约翰·格里蒙普雷（代表作《双重特工》）创作的新纪录片堪称一部精心结构的电影随笔。影片以刚果及其首位民主选举的总理帕特里斯·卢蒙巴的谋杀为背景，融合了地缘政治、爵士音乐、冷战阴谋和殖民实践，是一部爆炸性的混合体。片中既有详尽的研究和数据，又在形式上绝对巧妙和自由。影片追踪了卢蒙巴的权力崛起以及殖民者对将国家控制权交给其公民的抵抗。同时，影片还记录了美国试图通过派遣爵士音乐家如妮娜·西蒙、杜克·艾灵顿、路易斯·阿姆斯特朗等人来影响该国的努力。这些音乐家来到刚果演奏，浑然不知他们不过是中情局阴谋的幌子。最终，这部影片充满了音乐和电影能量，同时对仍然拒绝被抹去的殖民幽灵发出了一声强烈的政治控诉“我控诉”。
Piotr Czarny is a charming thirty-something lawyer. He is constantly chasing adrenaline, women and parties. His goal was to fill the list of mistresses with names for every letter of the alphabet. His plan is put in jeopardy when a colleague, Olga - the only woman he's completely honest with and doesn't sleep with - gives him an ultimatum.
本片是哈萨克斯坦独立三十周年献礼电影。 这部旨在表现哈萨克汗国著名可汗——哈斯木汗生平历史的鸿篇巨制，由曾执导《黑色人生》《无畏一千勇士》《托米莉斯女王》等诸多经典电影作品的阿坎·萨塔耶夫担任导演。 这部电影的事件涵盖1470年代至1520年代，聚焦于哈斯木汗掌权并引领哈萨克汗国走向强盛的1511年至1521年时期的传奇故事。哈斯木汗在1510年的乌利陶战役中获胜后，他的名声传遍了整个中亚大地。哈斯木汗统治期间，哈萨克汗国是当时中亚地区最强大的国家，人口超过100万，军力30万，领土囊括了整个钦察草原，西到伏尔加河，东到额尔齐斯河，南到锡尔河，北到托博尔，奠定了未来哈萨克斯坦的版图；还制定了《哈斯木法典》。
根据真实事件，印度尼西亚巴厘岛发生抢劫案，四名来自国外的专业银行劫匪和ATM机破坏者在巴厘岛横冲直撞。劫匪闯入一家钱币兑换中心的办公室后，将多名职员殴打至昏迷不醒。这些职员清醒后，发现嘴巴被贴上胶纸，他们自行脱身后向警方报案。巴厘岛警方正在紧追不舍地追捕劫匪。这几名劫匪非常的有经验，准备充分，下手迅速。还没等警方及时出警，他们就已经消失了。而且这伙匪徒十分的贪婪，另外多次策划了其他的抢劫案。不过在警长西卡的努力侦破下，警察很快发现了劫匪的漏洞和行踪。并且提前预判了了劫匪的下一个行动目标。就在劫匪们兴高采烈的开始新一次的抢劫时。警方赶到现场时，发现劫匪的行踪，立即展开追捕行动……
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.
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.
《八月三十一日，我在奥斯陆》的金奖编剧艾斯基佛格，今年首执导演筒长片作品《盲》，一鸣惊人横扫国际各大影展，拿下柏林影展最佳欧洲电影奖、日舞影展世界电影单元最佳剧本奖，以及入围挪威奥斯卡七项大奖。透过独特的叙事结构与影像魅力，捕捉盲眼女主角内心的脆弱与偏执。 最近失明的英格丽 几乎足不出户，尽管失去了视力，但她的心与想像力仍旧清晰而活跃，但恐惧却让她在自己的内在世界，书写出另一个人生剧本。 她时常幻想外出上班的丈夫偷溜回家，观察她在家中的一举一动，或是在网路上认识了一名单亲妈妈，偷偷与她约会；英格丽看见他们在餐厅里谈笑着，突然间，女子失去视力... 而察觉到异样的丈夫不久和女子分手，但她却说自己怀孕了，还挺着大肚子到派对上找他对峙。正当女子一身滑稽的礼服成为众人的笑柄，英格丽仿佛走进自己的幻想世界，化身成穿着礼服的女子和丈夫对峙着...
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