A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.

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YO《哥斯拉大战金刚》！又名《芭比哥总肯和无限手套金刚在夕阳下逝去青春的奔跑》！如此梦幻的第一支先导预告！让我们先来看看预告有什么值得注意的细节，然后再脑洞下情节。极简概括下前作《哥斯拉大战金刚》说了什么，金刚在骷髅岛被发现后就被圈养起来，长大后实在养不下，于是决定把金刚送到南极一个通往地心世界的入口，人类认为地心世界就是所有巨兽的老家。但在运送过程中遭遇哥斯拉的攻击，不打不相识，哥斯拉和金刚相爱相杀最后来到香港，一起干掉了机械哥斯拉，哥俩好互相就此告别。接下来我们

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在电影资料馆看完《金的音像店》，我意识到，电影只是少数人的电影。电影的阶级性隐藏在院线以外的地方，隐藏在各大影展、电影节，甚至是资料馆里。没有一个影迷能逃过《金的音像店》为我们创造的多巴胺，它几乎搭建了一个独属于影迷的音像王国。安德烈·塔可夫斯基、希区柯克、戈达尔、科波拉、大卫·林奇、库布里克、马丁·斯科塞斯等，这些名字只需要被提及，就会引来众影迷的欢呼。而片中恰到好处的经典电影片段的引用，更是让影迷沉浸在一种邪典的狂欢中。它既像《镜子》一样如梦似幻，又像《教父》一

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电影该剧以林楚楚（春夏饰）等待初恋男友年的故事为背景，展现了爱情中的美好与痛苦。影片中楚楚与两个男子的情感纠葛，让观众对爱情有了更深的理解和认识。

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【陀枪师姐】考古，看到要拍陀枪师姐还请了滕丽名参演，我又考古了这四部剧，第部还不错，第部不如前三部。陀枪师姐讲的是女警察，但是第四部展现的不多，蔡少芬变的奇奇怪怪，滕丽名从一个满腔热忱的女警变成了想去做文职的主妇，重心放在家庭不是不对，只是前面看得出来，滕丽名是一个热爱警察这个行业的有冲劲的年轻人，甚至前两部她很冲动，也是因为想做一名好警察，所以我认为编剧写着写着都忘了写师姐了，初衷是想写女性觉醒，女性的成长，这本来是很好。师姐没写好，师哥也没写好，到了第四部，欧