介绍：体型臃肿、相貌平平的瑞诺（Nils Jørgen Kaalstad 饰）是一个专事工具书翻译的宅男，他大多数时间呆在家里，幻想着和性感美丽的女子共度春宵。但由于外貌和性格的原因，瑞诺的爱情始终没有着落，只能依靠漫画和自慰来排遣心中的寂寞，嗜酒如命的怪人费里普（Kyrre Hellum 饰）是他唯一的朋友。某天，瑞诺的父亲自作主张为他找来一个室友，那是个名叫马琳（Josefin Ljungman 饰）的瑞典女孩。她性感魅力，体型曼妙，沉迷性和烟酒，尽情享受20岁的狂放年华。瑞诺对马琳心有所属，却又无比自卑。在马琳的引领下，瑞诺逐渐走进这个年轻人的圈子，只是，心与心的距离能否就此拉近？ 本片荣获2009年挪威阿曼达奖最佳导演奖

介绍：它将讲述一个从支持鲍勃·迪伦到成为其时代最具影响力的团体之一的团体的故事

介绍：影片根据吉拉·阿尔玛戈原著的小说《阿维娅的夏天》改编，真实而生动地展现了以色列的生活。影片朴实、丰富、优美，反映了犹太大屠杀的主题。 1951年的夏天，寄宿学校的学生阿维娅的母亲把她带回家过暑假。阿维娅的父亲死于犹太大屠杀，母亲因为在集中营受到刺激，一直患有精神病。由于母亲长期住院，阿维娅很少能见到母亲。在与母亲共同度过的这个夏天，阿维娅悲喜交加。悲的是自己染上虱子被剃秃而母亲因为患病被邻居们唾弃，喜的是能与母亲共同生活，享受天伦之乐。阿维娅对从未谋面的父亲有着美好的憧憬。她相信，自己的父亲没有死，而是活在另外的地方。新搬来的邻居甘茨先生与母亲十分友善，阿维娅以为甘茨先生就是自己的父亲。阿维娅相信，幸福的未来在等待着她，可是现实是残酷的…

介绍：After five years of war in Syria, Aleppo's remaining residents prepare themselves for a siege. Khalid, Subhi and Mahmoud, founding members of The White Helmets, have remained in the city to help their fellow citizens-and experience daily life, death, struggle and triumph in a city under fire. 《阿勒波的最后一个人》（Last Men in Aleppo） 导演：菲拉斯·法耶德（Feras Fayyad）、斯蒂恩·约翰内森（Steen Johannessen） 丹麦 入围2017年圣丹斯电影节曝首批片单世界纪录片单

介绍：A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.                                                                      A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and  "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.                                                                      Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.                                                                      The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country