IceT
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Awealthyrais(aheadoflocaladministrationinTadzhikistan)buildshistoiletrightnexttothehouseofateacherinthevillage.Thearomasofthetoiletdisturbthelifeoftheteacher’sfamily;itisveryupsettingforthem.ButtheraisisalsoanewTadzhik(newmoney)andignoresthecomplaints.Moreover,everytimehevisitsthetoilet,heshamelesslystaresattheteacher’syoungwifeoverthefence.However,thepoweroftheraisissogreatthatnobodydarestoopposehim.Theteacherbuyscheaplyahomerightinfrontoftherais’shousefromanoldmananddecidestobuildapublictoiletthere.Itseemsthattheeraoffairytalesandlegendshasvanishedanditisnotpossibletomakefilm-parables.However,JamshedUsmonovcreatesfilm-parables.Ineveryoneofhisfilmsthereisacharactertellingalegendthatturnsthemeaningofthefilmallaround.InFlightoftheBeeitisataleaboutabee,whichsavedthelifeofanarmy:Onceuponatimeitwasacustomtokilloldpeoplewhoreachedacertainage.ButoneofthesoldiersofAlexandertheGreatdidn’thavethehearttokillhisfather.Hehidhiminhistravelingtrunkandcarrieditonhisbackduringmarches.Thearmycametoadesertandthewarriorsstartedtodiefromthirst.Nobodyknewhowtofindwater.Thefathersaidtohisson:Catchabee,tieawhitethreadtoitslegandfollowit.Itwilltakeyoutowater.Theyfoundwaterandthearmywassaved.Afterthatoldpeopleweresparedbecauseeverybodyrecognizedthemasasourceofwisdom.Thevillageteachertellsthisstorytohisstudentsatthebeginningofthefilm.ItisinterestingtonotehowinthefilmFlightoftheBeedifferentmentalitiesintermingledandco-existed.TheteacheristypicaloftheSovietintelligentsia:hewritesbooksthatnobodypublishes;helooksforjusticefromthegovernmentthathasneverbeenfairtohim.ThesurroundingsofthevillagearestillSoviet:theraishasLenin’sportraitinhisoffice;youngpeopleareidleanddrunkastheyalwayswereduringtheSovietera.Thenewcapitalists,thenewTadzhiksinthevillage,donotweardesignerjacketsanddonottalkoncellphones.Thenewmoneyispresentedinthecharacteroftherais.Ithasalmostafeudalquality;itisthepowerofalocallord.JamshedUsmonovhasauniquetalenttobalancethefunnyandserious,thesimpleandcomplicated.He,likenobodyelse,sensesthisborder,whereasimplestoryturnsintoaparableandfilmcharactersstandoutasarchetypesofdifferentperiodssettogetherinthegapoftimes.(kinokultura/GULNARAABIKEEVA)
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保罗·塔维亚尼
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ThreeyearsafterthelossofhisbrotherVittorio,withwhomhesharedhisentirecareer,PaoloTavianireturnstotheworksofLuigiPirandello,whichthepairadaptedin1984(Chaos)and1998(YouLaugh).InkeepingwiththeSicilianplaywright’svision,thefilmisnotatallwhatitappearstobe.Thetitlemaycomefroma1910novella,butthereisnotraceofthatbook’sjealousy-riddledplot.Instead,thefocusisonPirandellohimself,orrather,hisashes,whicharetransportedfromahastyburialsiteinfascistRometoapermanentrestingplaceinSicily,onatrekthattakesusthroughpost-warItalyanditsfilmedmemories,asseeninnewsreels,amateurfilmsandfragmentsofNeorealism.Havingburiedthemaster,Leonoraaddiothenshiftsgearfromroadmovietofilmadaptation,buthereitpicksadifferentPirandellostory,namelythelastone,writtenshortlybeforehisdeathin1936.Fromthefarewellofthetitletoitsreturntothewriter’slastwords,itishardnottoreadthiswork,sofreeandyetsomuchapartoftheTavianiworld,asamovingbrotherlyfarewellwhich,justasin2012’sGoldenBearwinnerCaesarMustDie,onceagainusescinematogivevoicetoliteratureandhistory.
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ThefilmdelvesintotheunexploredthemeofthedisplacementoftheRusyn,anEastSlavicethnicgroupfromtheEasternCarpathiansinCentralEurope,duringtheconstructionoftheStarinareservoirinthe1980s.Setagainstthistumultuousbackdrop,Floodintertwinespersonalandcollectivestories,bringingtotheforefronttheoften-overlookedplightoftheRusynminorityinSlovakia.Gonda'sfilmspeakstominorities,individualswhohaveexperienceddisplacementandyoungadultsthroughitsprotagonist,Mara.Thestoryunfoldsinasmallvillage,threatenedbyanimpendingfloodduetotheconstructionofthereservoir.Mara,ayoungwomanyearningforcitylifeandaneducation,isboundtoherruralrootsbyherstrictfather,aRusynfarmer,whorefusestorelinquishhislandandlegacydespitetheloomingendoftheirworld.Floodexploresthethemesofadolescence,uprootingandthesacrificeofpersonaldesiresforthegreatergood.Thefilmseekstoelicitreflectionsonone'srootsandtheconceptofhome,aswellasthechallengesofnavigatingadisappearingcultureandheritage.TheStarinareservoir'sconstruction,whichlastedfrom1981-1988,ledtothelargestdisplacementinSlovakhistory.Gonda'spersonalconnectiontotheregion,havingspenthischildhoodsummersthere,addsalayerofauthenticityanddepthtothenarrative.ThefilmnotonlyrecountsthephysicaldestructionofthesevenRusynvillages,butalsocapturestheemotionalandculturalimpactofthiseventonthecommunity.Thedirectoraimstopresentadeeplyresearched,emotiveandintimatestoryaswellasdivingintothecomplexdynamicsbetweenpersonalidentity,communitytiesandtheinexorablemarchofprogress.Themovieispoisedtoengageandchallengeaudiences,fosteringadeeperunderstandingoftheoften-painfulinterplaybetweentraditionandmodernity.
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安德(Ender)与塞丁(Cetin)两位年近四十的中年人是从小一起长大的好友。在分别多年之后，塞丁回到安卡拉，与安德重逢的同时也想起他们孩童时的梦想，于是这两位好友住到了一起。安德与塞丁的好友费克雷(Fikret)一直住在国外，这次回土耳其度假却突遭横祸，他的父母都在车祸中死去。费克雷将自己的妹妹尼哈尔(Nihal)交付两位好友照顾，她将和他们住在一起，直到大学毕业。尼哈尔的到来打乱了安德与塞丁过“两人世界”的想法，她也一直无法从父母去世的阴影中恢复过来。在安德与塞丁两人无微不至的照顾下，原先沉默寡言的尼哈尔最终开朗起来，但随之而来确有另外一个麻烦——一直像父母一般照顾尼哈尔的安德与塞丁同时爱上了这个女孩。
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ITV’ssixpartfactualdrama,WhiteHouseFarm,producedbyNewPicturesrevolvesaroundonefatefulnightinAugust1985whenfivemembersofthesamefamilyweremurderedatanEssexfarmhouse;SheilaCaffell,hertwinsix-year-oldsons,DanielandNicholas,andherparents,NevillandJuneBamber.TheserieswillseektoprovidefreshinsightintothisfamilytragedyandthecontestedaccountsoftheeventsthattookplaceatWhiteHouseFarm.Basedonextensiveresearch,interviewsandpublishedaccountsincluding,‘TheMurdersatWhiteHouseFarm’byCarolAnnLeewithadditionalmaterialfrom‘InSearchofTheRainbow’sEnd’byColinCaffell,husbandofSheilaandfathertoDanielandNicholasCaffell.EssexPoliceinitiallybelievedthatSheila,whohadmentalhealthproblems,hadmurderedherownfamilybeforeturningthegunonherself.ButDetectiveSergeantStanJoneshaddoubtsaboutthemurder-suicidetheory,andaboutSheila’sbrotherJeremyBamber,whofirstcalledthepolicetothefarm.EventuallyitwasJeremyBamberwhowaschargedandconvictedofthemurdersofhisownparents,sisterandnephews.Bamberiscurrentlyservinglifeimprisonmentwithoutthepossibilityofparole.HeisoneofthefewprisonersintheUKsubjecttoawhole-lifeorder.Bamberstillmaintainshisinnocence.
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塔内尔·托奥姆
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Afterservingtwoyearsonamilitaryoutpostinthemiddleofanocean–foursoldiersarewaitingforanewcrewtoreplacethem.Whenthelong-awaitedboatfinallyappears,it’semptywithnoreliefonboard.Whentryingtofindoutwhathappenedtotheboatandthemissingcrew,theyrealizethey’velostallcommunicationswithhome.Cutofffromtherestoftheworldandn...
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DOMESTICVIOLENCEwasfilmedinTampa,Florida.ThefilmshowsthepolicerespondingtodomesticviolencecallsandtheworkofTheSpring,theprincipalshelterinTampaforwomenandchildren.Sequenceswiththepoliceincludepoliceresponse,intervention,andattemptedresolutionofdomesticviolencecalls.Sequencesattheshelterincludeintakeinterviews,individualcounselingsessions,angermanagementtraining,grouptherapy,staffmeetings,andconversationsamongclientsandbetweenclientsandstaff.Sincetwothirdsoftheresidentsattheshelterarechildren,thefilmalsohassequencesofschoolactivities,therapysessionsforchildrenwheredomesticviolenceisdiscussed,andcounselingforparentsandchildrenorganizedaroundchildrensissuesandexperienceswithdomesticviolence.
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María,ayoungstudentofFineArts,decidestospendaweekendwithJulio,herpartner,inthehouseofherparentstown.Oncethere,theyoungwomanwillhavetofacearealityalreadyforgotten.Thesolidmentalityofherfamilymeansthatpracticallynothinghaschangedinthelifeofherbrother,Hugo,andherfather,Arturo.
