Moovie 影牛
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Stacey Dooley travels the world to uncover the hidden costs of the addiction to fast fashion. She sees for herself how toxic chemicals released by the garment industry pollute waterways that millions of people rely on. She witnesses the former Aral Sea, once one of the largest bodies of fresh water, now reduced almost entirely to dust. These are shocking discoveries likely to make you think twice about whether you really need those new clothes.
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What happens when the values of the culture you've always known no longer align with how you see the world? The New Peasants offers an intimate look into the life of Meg, Patrick, Zephyr, and Woody. A family who, for 20 years, have been transitioning away from modern industrial culture toward a radically simple, sustainable, and beautiful way of life. Concerns about the industrial food system and environmental crises provided the family's initial motivation to live differently. Now it's 15 years since they've eaten from a supermarket or owned a car. The household, living intentionally below the poverty line and meeting 80% of their needs without using money, is nonetheless rich in so many ways. Wealth is found in their cellar of preserved foods, connections with community, saved seeds, homesteading skills and the time to focus on what really matters in life. Yet the decision to live this way has brought profound challenges for their family, in the form of their eldest son's encounters with the law. These experiences have produced immense grief, but, in the end, also great joy. This film shares the unfolding journey of a family rejecting the mainstream culture and working to create a new one. A culture and economy that draw on ways of the past while stepping joyfully into the future. For everything they've let go, something has been gained. With every challenge, something learned. This is one family's response to the predicament of our time, offering an inspiring glimpse into the kind of future, culture, and economy we can create. This family's way of living shows that transformative change begins at the home and community level and that we can all participate in creating a better world.
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An utterly unique homemade sci-fi-action-sexploitation buddy image, Runaway Nightmare is a sublimely amateurish mess that must be endured to be believed. Two pals running a worm ranch in Death Valley very long for some excitement to cut the boredom of their lifestyles. Their desires are fulfilled when they witness mobsters burying a gorgeous blonde girl alive in the desert, save her, and are taken captive by a ruthless squadron of feminine revolutionaries for their difficulty. Our heroes are very first tortured and then used as sex slaves, but eventually the girl gang invites them to join their cause, and they battle the syndicate to recover a briefcase full of taken platinum. Runaway Nightmare at first follows a standard male fantasy template (kidnapped by dominant females for stud solution), but it isn't pornographic. The male leads crack jokes like adolescent versions of Bob Hope and Bing Crosby, but none of it's funny. The plot includes radioactive accidents, exploding warehouses, and club fights, but there is no action. First-and-only-time director Michael Cartel is fond of long, airless scenes in which nothing happens, giving Runaway Nightmare the bizarre waking fantasy feeling that badly built movies sometimes achieve accidentally. The dialogue is ridiculous, the situations are ludicrous, and there isn't an actor in sight. Brief, clumsily-inserted nude scenes are meant to double for characters in the narrative, nevertheless the women's bodies are different, their faces are obscured, and they're shot on videotape rather than the movie stock utilized for the rest of the picture. In spite of (and because of) these dubious Runaway, virtues Nightmare is a one-of-a-kind cinematic experience, a fascinating failure that reaches brand new levels of weirdness, and its obscure house video launch is really worth seeking out for the jaded and the curious
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Jean just quit her coveted job as an investment banker on Wall Street. After a soul-searching journey traveling around the world, she retreats to an empty vacation home owned by a friend's rich family. She unexpectedly finds herself sharing the place with some former occupants - a cynical college professor, his bitter sister married to a devoted husband, a disgruntled cab driver and a washed-up drifter; all of whom are not even supposed to be there, because they're actually dead. As Jean reluctantly confronts these souls as tormented as herself, they inevitably end up in an entangled mass of secrets and lies... This imaginative thriller roams in an out of the lives of lost souls, weaving reality with the other side
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In a leafy forest, a Galician sovereign who longs to attain wisdom meets a sorcerer, who tells him: "Go back to your country and study the Earth and the Stars in the sky; anywhere in the world reflects an image of it. You will ride on this arrow, which you must keep for a hundred years and a day. After this time, stick it in the widest valley of all those you possess, with the tip facing the sky. Then the Moon will come and, just as it exerts its action on the waters of the sea, it will act on the arrow, turning it into a holy mountain." - Legend about the Pico Sacro. Inspired by Hokusai's views of Mount Fuji and Cézanne's paintings of Mont Sainte-Victoire, "Pico Sacro [The Holy Mountain]" aims to reveal the mystery and the magic that underlie reality.
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In India, Smita is an untouchable. She dreams of giving her young daughter an education and will go to any length to make that happen, including leaving behind all she knows in search of a better future. In Sicily, Giulia works in her father’s wig workshop, the last of its kind in Palermo. When her father is the victim of a serious accident, she discovers that her family’s livelihood is at stake. In Canada, Sarah is a twice-divorced mother of three children and a successful lawyer whose identity is wrapped up in her work. Just as she expects the promotion she’s been working her entire career for, she learns she has breast cancer. The Braid is a vibrant and singular reminder of what connects us all – across borders, across languages, across cultures.
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Future of Food In the past year, we have seen food riots on three continents, food inflation has rocketed and experts predict that by 2050, if things don't change, we will see mass starvation across the world. This film sees George Alagiah travel the world in search of solutions to the growing global food crisis. From the two women working to make their Yorkshire market town self-sufficient to the academic who claims it could be better for the environment to ship in lamb from New Zealand, George Alagiah meets the people who believe they know how we should feed the world as demand doubles by the middle of the century. 【India】 George joins a Masai chief among the skeletons of hundreds of cattle he has lost to climate change and the English farmer who tells him why food production in the UK is also hit. He spends a day eating with a family in Cuba to find out how a future oil shock could lead to dramatic adjustments to diets. He visits the breadbasket of India to meet the farmer who now struggles to irrigate his land as water tables drop, and finds out why obesity is spiralling out of control in Mexico. Back in Britain, George investigates what is wrong with people's diets, and discovers that the UK imports an average of 3000 litres of water per capita every day. He talks to top nutritionist Susan Jebb, DEFRA minister Hilary Benn and Nobel laureate Rajendra Pachauri to uncover what the future holds for our food. 【Senegal】 George heads out to India to discover how a changing diet in the developing world is putting pressure on the world's limited food resources. He finds out how using crops to produce fuel is impacting on food supplies across the continents. George then meets a farmer in Kent, who is struggling to sell his fruit at a profit, and a British farmer in Kenya who is shipping out tonnes of vegetables for our supermarket shelves. He also examines why so many people are still dying of hunger after decades of food aid. Back in the UK, George challenges the decision-makers with the facts he has uncovered - from Oxfam head of research Duncan Green to Sainsbury's boss Justin King. He finds out why British beef may offer a model for future meat production and how our appetite for fish is stripping the world's seas bare. 【Cuba】 In the final episode George Alagiah heads out to Havana to find out how they are growing half of their fruit and vegetables right in the heart of the city, investigates the 'land-grabs' trend - where rich countries lease or buy up the land used by poor farmers in Africa - and meets the Indian agriculturalists who have almost trebled their yields over the course of a decade. George finds out how we in this country are using cutting-edge science to extend the seasons recycle our food waste and even grow lettuce in fish tanks to guarantee the food on our plates. He hears the arguments about genetically modified food and examines even more futuristic schemes to get the food on to our plates.
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When I was a kid I always used to like to read the picture books, then they made them into a TV series on CITV. This was actually quite a good book based cartoon. Wally is a guy in a red and white fleece with a dog dressed the same. Basically every episode, when he felts like it (obviously all the time) he would get his magic walking stick and create a vortex that would transport him to another world, e.g. stone age, spooky, under the sea, jungle, etc. Wizard Whitebeard would be around to see how he was using the walking stick or how he was in the adventure, and the villain (I can't remember his name) in the yellow and black fleece would always try to steal the walking stick. But the main part of the show (hence the title) was when the audience at home have to spot Wally in a freeze frame (because he disappears for some reason), just like in the books. Very good!
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Beautifully woven, complex and subtle, this film captures an essence of NYC after 9/11. A great script, some stunning photography, an excellent score that helps tie it all together, and a great ensemble cast make this small film seem quite large. The emotions that bubble under the surface, only sometimes breaking through, give this film its strength and its power. Different stories of different people all struggling with day to day life sharing the common experience of being New Yorkers post 9/11. The references to what happened are almost all unspoken, evoked through the images displayed or the background sounds, yet there is no doubt that what happened is a force in the lives of all of these people. Intelligent film-making at its best. 影片讲述的五个故事就发生在纽约人日常的生活中。特拉布勒斯是一名心理医生，他的病人桑的在经历911事件后，对周围的人、事感到愤怒和失望。特拉布勒斯运用自己独特的方法重燃桑的对生活的热情。艾米基勒是纽约市糕点主要供应商之一，为了揽到生意不择手段，把他的敌手一家逼上了绝路……911事件后，美国进入了后911时代，所以这是第一部直接反映911事件后，纽约人生活百态的喜剧，以及他们对于那段记忆的态度。注意，它决不是对劫后余生的悲剧反思。影片讲述了各成一体的五个互不相乾的故事，表现了故事中的人物经历了911事件后的心路历程。幽默的手段挥去了这个主题下的阴冷和沉重，体现了编者不同凡响的智慧。
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Marie, 19, is attracted by easy money. Without really realizing it, she becomes involved in prostitution. She decides not to tell her friend, Vincent, a young, nonchalant, 21-year-old skater who owes everyone money and just can’t seem to grow up. The maelstrom of life seizes Marie and Vincent, caught up in a society where money, appearance and perpetual self-delusion are everything. Vincent’s mute, autistic brother, Mika, also gets caught in the trap.
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Five women are running an old hotel and trying to save it from inexorable decay. Guests arrive over the course of a weekend: a couple bears the wounds of a long-term misunderstanding; a domineering mother interferes in her daughter’s relationship; two girls try to save their own love story in the face of opposition from a possessive mother. Viver Mal is the reverse shot of Mal Viver, which is screening in the Competition: here, João Canijo reveals everything that was floating in the depth of field in this film’s mirror image. Reality becomes the intertwining and multiplication of different points of view; the intersection between what can be seen and what the eye misses. Like a play of light reflections, Viver Mal is Mal Viver in another dimension. The image is distorted, but at the same time seeks a new definition by relaunching itself into infinity.
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A man tries to raise his two sons and two daughters under some of the most adverse conditions known to man. The father operates a horse-drawn cart, but in a city that is modernizing after the destruction of the Korean War, automobiles are making carts obsolete. The children are experiencing difficulties as well. The eldest son has flunked the bar exam twice and is not hopeful of passing it a third time to become a lawyer. The eldest daughter is mute and married to an abusive husband. The younger daughter tries to pose as a rich university student to move up in life. The youngest son has a penchant for petty theft.
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Terminally ill Janette wants to die with dignity, but it’s not possible in the UK, where she lives. She therefore decides for assisted suicide. She must plan her journey to Switzerland before her rapidly advancing disease makes it impossible. The question of whether we own our own lives or whether they own us is the primary impetus behind this documentary portrait, which shows that death can be good despite the sadness that always accompanies it. The film, with dramatically suggestive camera work, uses feature film techniques, and engaging characters and stories of their loved ones are interwoven with Janette’s story. "Let's talk about death because we will all die someday. The question is: can we choose when and how? I think we should." T. Krupa