Ann
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马克·罗特蒙德
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杰森十岁，患有自闭症。他保持固定的生活规律，不容许违反。他的父母米尔科和法蒂梅都为此付出努力，但学校却想把杰森转到特殊教育学校。为了避免这种情况，米尔科答应帮儿子找一个喜欢的足球俱乐部。作为回报，杰森答应在学校好好表现……
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达斯汀·里克特
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A twelve-year-old girl befriends a quirky teenage mermaid who's anything but mythical, and their friendship could heal an age-old feud.
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Carl Joseph Papa
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埃里克在菲律宾过着相当普通的生活，担任动画师。他住在一个不错但有些脏乱的公寓里，有一份收入不错的工作，还有一个他喜欢的人。然而，埃里克最显眼的特点是他没有嘴，字面意义上的没有嘴。一天，他接到了母亲罗莎琳达的电话，母亲让他去查看一下似乎失踪的叔叔。结果却发现叔叔已经去世多日。在他仍处于震惊状态时，一个熟悉的外星人出现，想要把埃里克带离地球。《Iti Mapukpukaw》是一部菲律宾伊罗卡诺语的转描动画电影，讲述了在熟悉的外星人到来和叔叔去世后，埃里克生活的曲折变化；这两件事都促使埃里克开始回忆过去并解开记忆的纠缠。
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杰赫米·克拉潘
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Written by the director himself, the story revolves around an “absent” hero: an astronaut lost in the emptiness of space. His absence is spoken about indirectly here, from planet Earth. He was the nation’s son, loved and admired by all. But he’s primarily always on the mind of his little sister Elsa, who’s the real “fully present” heroine in this story. Elsa has lived her life and her childhood by proxy, sustaining herself off the dreams and ambitions of her older brother and hero. He was her point of reference and her daily inspiration. While he floats around, somewhere up there, in the ether, Elsa also drifts, right here on Earth…
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纳卡什·哈立德
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20-something Aden has no other ambition in life than to become an actor. Most of his time is spent making videos as he applies for roles he’ll never get. After a string of dreadful auditions, where bizarre and humiliating requests are made of him, he comes up with a radical move: he will take full responsibility for finding a role that primarily he, himself, wants to play. This self-assured debut, playful in form and narrative with a fairy-tale edge to it, examines both the commercial work ethic and the concept of identity, which it presents as multilayered and also questionable. At the same time, in its exploration of the given themes, the film doesn’t deny itself a socio-critical tone, nor does it resist the temptation to tease the viewer a little.
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Maciej Odolinski
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三年前的一次邂逅，让事业有成的他和神秘的她激起肉欲与情感的碰撞。三年后的相遇，是偶然还是另有隐情？女儿被神秘人绑架，是巧合还是精心策划？这一切的发生让他深陷其中难以自拔，是选择家庭的责任还是激情与欲望
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大卫·洛维
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"An Almost Christmas Story" follows Moon, a curious young owl who unexpectedly finds himself stuck in a Christmas tree destined for Rockefeller Plaza. In his attempts to escape the bustling city, Moon befriends a lost little girl named Luna. Together, they embark on a heartwarming adventure, discovering the magic of the holiday season and forming an unlikely bond as they journey back home to their parents. “An Almost Christmas Story” starts streaming, November 15 on Disney+.
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Alix Austin,Keir Siewert
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When Dakota tries to break off her toxic relationship with Axel, it starts transforming him into a monstrous creature. He gradually succumbs to the poison of the decaying relationship, becoming a creature with increased aggression, a touch that melts skin and worst of all, he's contagious.
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杰西卡·沙泽尔
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一个派对过后，少女Melinda（克里斯汀·斯图尔特 Kristen Stewart 饰）开始变得沉默寡言。新学期开始，她认识了新同学Heather（Allison Sik春晚魔术揭秘o 饰），尽管她并不喜欢Heather，但她却只能和Heather一起。她原先的那帮好朋友们都认为她在派对上的报警是对他们的一种背叛而疏远她，尤其是她原来最好的朋友Rachel（Hallee Hirsh 饰）也不再和她有来往，整天和她的新男友Andy（Eric Lively 饰)混在一起。语文课上，老师用她蹩脚的英文念她们的名字；生物课上，她和Dave（迈克尔·安格拉诺 Michael Angarano 饰）分在一组；美术课上，老师让她好好学画一棵树；历史课上，老师是个专横的民族主义者......她的世界因为回忆和现实而变得压抑不堪，她开始尝试画一些奇怪的东西。她终于下定决心把事情的真相说出来，到底在派对上她和Andy之间发生了什么事，到底她为什么要报警......她不再沉默。 本片改编自美国作家Laurie Ha上海彩铃网lse Anderson的同名获奖小说。
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Alexander Kluge
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The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.