李家共有四个孩子。老大名响和老二名扬本就不合，老大持续,坚守,执着,恒心分家时长房长孙该拿两份，触怒了精打细算的老二。老二则自恃学历高看不起其他兄弟，且他早已打算将祖宅变卖赚取暴利。对负债的老四名丰来说，他绝对赞成分家，但大哥、二哥都要跟他买手中持份，让胆怯,软弱,怯懦,胆小的他为难…
　　三兄弟各有盘算，此时他们一直联系不上的三房姪女李心悦，却偷偷回到了故乡。心悦游荡在市区内吃遍了台菜餐厅，但她每盘菜都只动一口就皱眉离去,分离,离别,离别,分别,分离,别离,分散,远离,分离，这一切被偷偷跟她回到故乡的男友季蔚然看在眼里，不仅知道了心悦叔伯间的矛盾，更得知她长期受爸爸,父亲大人,爹爹,老父亲意外死亡的伤痕所苦。最终，心悦是否能疗愈了心底的伤痕，将分崩离析的家庭再次凝结……

　　「アルビノの木」の金子雅和が監督を務めた本作は、東京の下町を舞台に、人間の生や死に実感を持てない若者が運命的な出会いを通して命の重みを知るさまを描く幻想譚。主人公はマンガ家を目指す草介だ。ある日彼は不思議な娘・ミドリを図らずもけがさせたことから、彼女の家族が営む写真館まで送り届けることに。そして、ミドリの家族との出会いを通じて、東京という土地に眠る過去の記憶を知ることになる。

　　A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”

　　《天字第二號》是一部現代愛情諜報作品，結合了疫情期間因隔離產生對檢疫結果的恐慌與想像，以及導演張英的經典台語電影《天字第一號》元素；至於拍攝手法上，參考了近年美國電影《人肉搜索》或日本電視電影《雙重預約》運用的遠端拍攝與多重螢幕，用獨特的敘事方式，讓觀眾一窺疫情下專有的影像風格。

　　保罗·麦斯卡将出演歌舞新片[卡门]，与梅丽莎·巴雷拉上演对手戏。该片为本杰明·米派德([黑天鹅]芭蕾指导)的导演处女作。米派德还将担任总编舞，并与尼古拉斯·布里特尔([月光男孩])一起配乐，与亚历山大·迪内拉里斯([鸟人])、Loic Barrère共同操刀剧本。故事灵感来源于乔治·比才同名歌剧，叙述,阐述,陈述,描写一名女子为搜寻,寻觅,查找,探寻自由从墨西哥沙漠游历到洛杉矶。该片将于2021年1月18日在澳大利亚展开为期七周的拍摄。索尼经典负责该片北美发行。

　　中共驻上海地下联络员袁野因为潜藏在组织中的内鬼的背叛而失去了同伴和上级，成为无人证明身份的孤岛。为了向组织证明清白，袁野找到了曾在任务中救下的女大学子,门生,弟子,学员杨柳，渴望,期望,盼望,企望杨柳能与自己一同前往延安，证明自己的身份。
　　本就有着革命憧憬的爱国青年杨柳，一听要去往革命圣地便欣然跟随。杨柳还集结了周潇然，于俏俏，吴大卫，白华等四个与自己一样抱负的同学，请求袁野带领他们一同上路。
　　袁野深知学子,门生,弟子,学员们虽有热忱,热诚,热心,热切，却终究稚嫩不谙世事。袁野劝说他们回去读书，却被意志坚决的学子,门生,弟子,学员们反对。内鬼“鱼刺”和汪伪特务对袁野紧追不舍，穷凶追捕。袁野在生死情急的状况下只得带着五个学子,门生,弟子,学员一同上路。
　　一路上，众人遭到了来自特务和日本人的追杀围堵，去往延安的征途险象环生。袁野一次次的利用自己的经验和才智化解危难，庇护,维护,呵护,护卫学子,门生,弟子,学员。也让五个青涩的学子,门生,弟子,学员在血与火，生与死的历练中相识,明白,明了,知晓,理解,认知,懂得到了革命的真谛，获得老成,稳重,老练,练达,长大,发展,进步和新生。
　　此片是为了纪念鲁迅艺术学院成立八十周年，铭记在战火中奔赴延安的爱国青年的身影。

　　欢乐,愉快,欢喜,欢乐,愉快,欣喜,喜悦,欢畅,喜悦,欣喜的樵夫佩佩在一家木材公司职业,事业,工作岗位,职责，当公司被无情收购后，他的厄运起始,开端,肇始,启始了。曾为戛纳电影节一种关注单元获奖影片《奥利最愉快,欢喜,欢乐,愉快,欣喜,喜悦,欢畅的一天》编剧的米科·麦利拉提自编自导的长片处女作，采用35毫米胶片拍摄，分两章叙述一个带有魔幻现实主义的谋杀案。在糖果色调下，裹挟着超现实元素，如会说话的鱼头、黑长毛怪兽、发光的漂浮球等，营造成人童话质感。利用诗意的大全景，柔化危机四伏的现实世界，借由芬兰式冷幽默，重新诠释《约伯记》中凡人受难的意义。荣获2022年戛纳电影节影评人周单元发行奖、2023年芬兰电影胡西奖最佳声音设计奖。

　　Star, a suicidal teen now too old for foster care, develops a candid rapport with An, a student from Shanghai who is assigned to watch her while she is in hospital. A nightly exchange of secrets, text messages and possessions quickly expands the boundaries of their relationship, altering their inner chemistry.
　　Gilded by a soundscape that interweaves work by emerging and pioneering electronic musicians, Queens of the Qing Dynasty is an offbeat ode to neurodiversity and genderqueer individuals who refuse to conform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and conceptual poetry. Her cast is entirely composed of first-time actors who convincingly convey how unique every individual is, both in how they see the world and how they relate to others. Ziyin Zheng in the role of An graciously embodies a mix of idiosyncrasy and frankness that makes them an ideal confidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through conventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.

　　Marine Biologist Jason and his wife Abby goes to Pola, Mindoro where he is tasked to lead the rehabilitation and preservation of a fish sanctuary. There, he meets his diving assistant Dennis and the two hit it off instantly. As they work together, Jason learns bits and pieces about Dennis and his family; and Dennis is moved with Jason's passion for his work. They also find themselves in contradicting problems when Dennis got his girlfriend Tanya pregnant, while Jason and Abby have been struggling to have a baby for years, but to no avail because of Abby's illness. As days go by, Jason and Dennis develop romantic feelings for each other, eventually giving in to their sexual desires. But their affair takes an unprecedented turn when Abby finds out about Jason and Dennis' affair and catches them in the act. Abby's shock from her discovery made her illness worse, resulting in her hospitalization. Jason now has to choose between Abby and Dennis, and someone will be left brokenhearted.

　　柏林电影节特别展映
　　21-year-old Cioma Schönhaus won't let anyone take away his zest for life, especially not the Nazis. He wants to discover life, but has the misfortune of living as a Jewish person in Berlin in the 1940s. Since the best hiding spots are in plain sight, Cioma decides to go out into the light to escape deportation. Using the identity of a marine officer he created for himself, he throws himself into the city's nightlife and even finds a fragile hope for love during the darkest moments of the war. Throughout the day he forges IDs with just a brush, some ink and a steady hand - and saves the lives of many others. His talent puts him in more and more danger, though, and at some point Cioma's only hope to survive is a last forged ID - with his own name on it.

　　影片叙述,阐述,陈述,描写了一个青海高原藏区村落，少年多杰和姐姐格桑与奶奶一同日常,生存,生计,日子。早年失去妈妈的姐弟俩渴望获爸爸,父亲大人,爹爹,老父亲的陪伴，但爸爸,父亲大人,爹爹,老父亲一直在外忙碌，很少归家,返家,还家,归宅。一天，姐弟俩偶遇一只受伤的小黑颈鹤，善意,良善,仁慈,慈善的他们将其带归家,返家,还家,归宅关照,照应,关怀,关爱。冬季将至，没有亲鸟的带领，小鹤无法完成迁徙，姐弟俩决心,打算,计划,准备骑摩托送它前往云南越冬地。而爸爸,父亲大人,爹爹,老父亲听闻孩子们擅自离家，也立刻南下搜寻,寻觅,查找,探寻。这趟艰险的旅途，注定将是一家三口的老成,稳重,老练,练达,长大,发展,进步之旅，促使他们重新审视亲情的涵义……

　　1987: While the other students wonder if new kid Robin is a boy or a girl, Robin forges a complicated bond with the school bully, making increasingly dangerous choices to fit in.

　　Two young men who are in love and get bullied by a group of neo-Nazi skinheads that makes their life difficult as hatred and intolerance seeps into the rapport between their relatives and respective families.

　　最疼愛國倫的阿媽因車禍過世了，隱藏多年且已轉為女兒身的他，不得不回鄉奔喪。一大家子的人聚在一起，有尷尬卻也有溫暖。當他發現撞死阿媽的人，竟然是如今有妻有子的初戀男友，再加上家族間利益糾葛、新怨舊恨，一場喪禮像是打翻了滾燙的熱鍋，還活著的人該何去何從？

　　潘仔與阿竹是一對無樂不作的好兄弟，兩人總踩著單車穿梭鄉間、鎮日流連。一個遊手好閒的下午，他們偶然救出被人欺負的皓呆，一趟春日三人遊便就此展開，不料雜貨店女孩曉琪的加入，卻讓四人關係產生了微妙變化。夜晚煙花燦爛，浪花沖打於岸，當太陽逐漸升起，年輕的生命又該駛向何方？

　　Back in 1990s, an aspiring IAS starts a rebellion against the caste-based reservation.

　　《残念生物事典》宣布剧场动画化，本作将于2022年夏在日本上映。
　　【制作】
　　原作：「ざんねんないきもの事典」シリーズ（高橋書店刊）
　　监修：今泉忠明
　　动画制作：ファンワークス
　　配給：イオンエンターテイメント

　　今天這個日子對爸爸阿海來說是特別的，因為擔任消防員的兒子祥仔終於要归家,返家,还家,归宅了。阿海從幾天前就開始準備，想著要煮哪幾道祥仔喜歡吃的料理，想著要怎麼迎候,迎候,迎面,迎向他归家,返家,还家,归宅。辛苦了一整個上午，這整桌飯菜，不只是滿溢著父愛，也是想念,惦记,挂念,牵挂的味道。所有的一切，都是為了父子倆能夠在家裡再一起好好吃頓飯。

　　在母親罹患胰臟癌末期後，大提琴老師鐘宜的日子便在授課與醫院中往返。一日因看護請假，她不得不親手幫母親換尿布及清理排泄物。在女兒面前尊嚴盡失的鍾母、在母親面前無所適從的鍾宜，這對母女終究因為內在的惶惶不安，在病房內掀起一場風暴⋯⋯

　　一个阳光和煦的午后，一对结缡三十多年的老夫妻，沿着港边小路漫步。他们久违的谈话，从子女的日常,生存,生计,日子事，逐渐回归到两人的感情事。路途上，偶遇的旧识说着人世的聚散无常；当年爱恋,相恋,恋情,恋慕,相恋,爱恋,热恋定情的场所，更显情感丢失后，无法寻回的惆怅。漫漫长路的终点，有着青春相伴的忆起,追忆,回想,缅怀与分离。

　　聚焦2015年巴黎巴塔克兰袭击事件的新片[一年，一夜](Un año, una noche，暂译)由伊萨基·拉库埃斯塔([两片水域之间])执导，伊萨基与Fran Araújo、Isa Campo共同操刀剧本。故事改编自袭击幸存者Ramon González所写的自传体书籍，以巴塔克兰袭击事件为背景，聚焦于一个年轻的西班牙人和他的女友，叙述,阐述,陈述,描写这两个幸存者如何试图治愈他们的心理创伤。

　　金魚象徵著兩位少女的美麗與脆弱。孤寂的小芊與雨晨，內心都擁有著傷痕，兩人因為雨晨的自殺計畫，而在泳池相遇，開始慢慢體會到前所未有的溫暖是來自陪伴，也進而互相明白,明了,知晓,理解對方心中的一抹孤寂。

　　A movie that follows a young, black attorney who has spent years offering live, online sex performances to pay for law school and “endeavours to construct dialogues between different identities, without this leading to the annulment of identarian policies.

　　入围塔林电影节影评人之选竞赛。
　　Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)