201121.

巴勒斯坦(👊)(tǎn )電(🎌)視台攝製(📇)臥底肥(féi )皂劇，連(🧔)以色(🔫)列(liè )婦孺(😧)都晚晚追(zhuī )看(kà(🌄)n )。編劇(👷)因情節(jiē(🐺) )背(bèi )離革命而辭(😼)職，監(jiān )製的多(🛶)口侄(🐽)仔助(zhù )理受(🔺)命執筆，頻(pín )頻(🏀)借女(👧)角之口(kǒu )，向(🌞)電視機前的舊(🍃)(jiù )愛(🤘)示好，以色列檢(jiǎn )查站軍官(🚌)則企(🆙)(qǐ )圖(tú )恃權影響劇情(qíng )發(🤩)(fā )展(👓)，以便在追看(kàn )的嬌妻面前(🤖)自吹(🔥)自(zì )擂。助(👙)理即使(shǐ )槍(qiāng )抵(🍍)腦殼(❇)，都不(bú )肯(🌦)(kěn )接受軍官要求(👨)的(de )大(😴)團圓結局(🕌)。抗爭(zhēng )，必須繼續(🧛)！影(yǐ(📌)ng )展新秀蘇(🎩)亞比(bǐ )巧(qiǎo )妙調(🍚)侃以巴關(guān )係(🖱)(xì )，他(🥙)的喜劇座右(🎃)銘(míng )是：要能(🤽)大笑(🎧)，必須面對苦(🏖)痛(tòng )，並與之周(🐐)旋。獲(🚑)(huò )威尼斯地平線單(dān )元最(🏆)佳男(📺)主角獎。

子どもに夢を与(yǔ(🏿) )え、(🐿)想像力をはぐくむコンテ(🍔)ンツ(🥡)作りをめ(😅)ざして、キャラ(🚖)クタ(🌐)ーアニメ(🔓)ーションを中心(✏)にデ(🔩)ジタル絵(🔖)本やARといったア(🎴)プリ(🛵)などを通(🛅)(tōng )して、エンタ(♉)メから知育ま(🎙)で幅(fú )広く活動(🌯)しているスタ(🧟)ジオ(🗽)ななほしが(😱)、ジャンルや(🥓)メデ(🍱)ィアを問(wèn )わず、ものづ(📽)くり(🕘)を手掛けるウサギ王と制(🏫)作。ど(📡)この家にもある縁起物た(🤠)ちと(🙄)、彼らが(🛩)動くさまを見た(😴)子ど(⏬)もたちと(🙇)の交流を、躍(yuè(🔇) )動感(👛)いっぱい(📙)に描いたドタバ(⚽)タコ(🐃)メデ(💨)ィ！

It's summertime in a hot and empty Buenos Aires. Marcela's world is shaken when her sister dies, leaving her completely out of sorts. Still grieving, she must deal with clearing out her flat. One of her daughter’(🍈)s young friends, Nacho, appears on the scene, eager to help, a presence which leads to shared road trips and adventures. During these confusing days, people and conversations from another time will mingle, prompting questions, while the imminence of everyday life closes in on her.

巴勒(lè )斯坦電視(📧)台攝(shè )製(zhì )臥(🍏)底肥皂劇，連(lián )以(🙌)色列婦孺都晚(🔍)晚(wǎ(🕦)n )追看。編劇因(🐢)情(qíng )節背離革(🗯)命而(🖋)(ér )辭(cí )職，監製的多(duō )口(kǒ(🐺)u )侄仔(🍙)助理受命執(zhí )筆，頻頻借女(🍚)角之(🌚)(zhī )口(kǒu )，向電視機(jī )前(qián )的(🆚)舊愛(📃)示好，以(yǐ(🏜) )色列檢查站軍官(⏯)(guān )則(📢)企圖恃權(🐊)影響劇(jù )情發展(🥨)，以便(🚕)在(zài )追看(😍)的嬌妻面(miàn )前(qiá(✈)n )自吹(📷)自擂(🎗)。助理(🥙)(lǐ )即使槍抵腦殼(🗂)，都(dōu )不肯接受(👏)軍官要(yào )求的大(🌡)團圓結(jié )局(jú(🌎) )。抗爭(🏥)，必須(xū )繼(jì(🐑) )續！影展新秀蘇(🐲)亞(yà(👻) )比巧妙調侃以巴(bā )關係，他(🤫)的喜(👤)(xǐ )劇(jù )座右銘是：要(yào )能(👲)(néng )大(⬜)笑，必須面對(duì )苦痛，並與之(🐝)周旋(⏹)(xuán )。獲威尼斯地(dì )平(píng )線單(⏰)元最(🏦)佳男(nán )主(🍳)(zhǔ )角獎。

Identical twin brothers become hybrid A.I (artificial intelligence) entities, yet torn in different directions to achieve justice for humanity.

Loosely following a traditional Passover Seder, events from the Book of Exodus are retold by Moses, Aharon, the Angel of Death, Jesus, and the director's own father. But there's another side to this story: that of the Goddess, humankind's original deity. Seder-Masochism resurrects the Great Mother in a tragic struggle against the forces of Patriarchy.