第53届金马奖形象短片之二——毕赣篇 去年以《路边野餐》一鸣惊人、勇夺金马奖最佳新导演的毕赣，回到故乡贵州凯里拍摄，并找来偶像侯孝贤的子弟兵、亦是金马奖得主姚宏易来掌镜，用16mm摄影机打造出“日常奇迹”的感动。 何谓“日常奇迹”？毕赣说他的“日常奇迹”很多，举凡孩子 出生、汽车突然能发动、太阳落山、或著饭煮熟了都是。而他对影展的形容也很奇妙：“影展就像是一个有品味的餐厅，然后这支广告像是这个餐厅的花园，裡面应该有鸟叫与花香，然后我要偷偷地放一把椅子进去，让入场的观众可以坐一坐。” 毕赣在《路边野餐》有个超过40分钟、技惊四座的长镜头。这是他第一次拍广告，他很开心终于可以拍一个“特别短”的电影。结果，原定交件长度是不超过60秒，他毫无意外还是不小心“超时”了。但这支魔幻又诗意的广告，却让看过的人无不惊呼意犹未尽，期待能有延伸为一部电影的机会，甚至臆测这会不会是他下一部作品的“线索”。而这次除了毕赣的招牌诗句，歌曲方面则选用了毕晓世创作、杨钰莹演唱的〈轻轻地告诉你〉。 与另外两位导演赵德胤、陈哲艺分别完成“金马53”年度广告，毕赣高兴地说：“这就像是三个人在同一个邮局写信，然后悄悄地寄给不同的人。” 这回答还真像他的电影。

A lyrical portrait of Amsterdam and its changing appearance during a rain-shower.

About a man going from early childhood to old age in the time it takes to freshen up.

An old fisherman makes the biggest catch of his life.

2006 animated short film directed by Torill Kove

2014 computer-animated short film directed by Patrick Osborne

2008 Japanese animated short subject film directed by Kunio Katō

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

偏僻村庄正在热热闹闹地举办一场葬礼，去世的老人是上届村长老王的老伴刘老太，风光的葬礼背后却另有隐情。为了让儿子竞选村长又不想把老伴火葬的老王想出偷尸代替刘老太火化的主意。一切看似顺利结束时一场意外打破这一平静，躺在棺材里的刘老太在老王想要偷偷下葬时意外的复活，一场荒诞的悲喜剧由此展开……

影片《东尼与明明》只差最后一镜，却因女演员璐璐无法入戏、哭不出来而迟迟无法杀青。无奈之下，导演阿莱只好下令清场，独自留在摄影棚启发演员。 阿莱试图挖掘璐璐的情感隐私为表演所用，谁知璐璐恼羞成怒，讽刺阿莱的剧本虚假矫情。就在矛盾无法解决之时，阿莱说出了剧本背后真实的爱情故事，令璐璐大为感动，对其另眼相看。排练中，现实和故事的界线突然模糊起来，两人仿佛在同一刻爱上对方，竟在片场按捺不住互拥入眠，而剧组成员正在门外等待……

由于中国计划生育政策的实行，一些偏远山区长期存在着人口结构失调，劳动力不足以及由此所产生的诸多家庭生活问题…… 十六岁的小男从小生活在一个偏远闭塞的北方山村。村民们普遍思想陈旧，小男的父亲是一个卖肉的屠夫，已经有些年老力衰。父亲严格限制小男的活动，把小男拴在自己身边。 这天，村中锣鼓喧天迎娶县城嫁来的新娘，一队婚车驶入山村。帮忙开婚车的司机小伙来小男家的肉铺买肉，帅气的小伙临走前邀请小男去看美丽的新娘。尽管父亲极力阻止，小男还是不顾一切地冲出家门去看新娘……

在巴黎世界博览会期间，一个穿着塞维利亚连衣裙的女孩在“Féria Sevillanos”随着音乐与几个男人跳舞，尽管她看起来并不是真正的塞维利亚舞者。

Lasting for roughly 50 seconds, it shows the goodbyes of many passersby - first Europeans, then Palestinian Arabs, then Palestinian Jews - as a train leaves Jerusalem.

In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black uniform, demonstrates how to mount the horse then encourages and tries to assist a man in white. The man in white keeps falling, and soon it's apparent that he's an putting on a show. His pratfalls become more elaborate and stylish. The horse stands patient. The little groom laughs to see such sport. And finally, the man in white finds a comic accommodation. The story, though brief, has a beginning, middle, and end.

Outdoors, with a nondescript building in the background, four men stand, each holding the corner of a blanket stretched parallel to the ground. They wear the clothes of laborers. By the back corner on our left stands a uniformed man who seems in charge. A sixth man stands back from the blanket about six paces; he runs forward and takes a leap but stops at the edge of the blanket and is upbraided by the uniformed gent. The same thing happens a second time, but the next three times, he completes a flip, landing on his back in the middle of the blanket, and the four then boost him out toward the camera. The final time seems like it will be his last for awhile.

Pedestrian and horse-drawn vehicles traffic, across the Place des Cordeliers, in Lyon.

Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.

1895 film by Louis Lumière

A metaphysical thriller for the digital generation.

Everyone knows that the stork delivers babies, but where do the storks get the babies from? The answer lies up in the stratosphere, where cloud people sculpt babies from clouds and bring them to life. Gus, a lonely and insecure grey cloud, is a master at creating "dangerous" babies. Crocodiles, porcupines, rams and more - Gus's beloved creations are works of art, but more than a handful for his loyal delivery stork partner, Peck. As Gus's creations become more and more rambunctious, Peck's job gets harder and harder. How will Peck manage to handle both his hazardous cargo and his friend's fiery temperament?