ATEEZ世界巡回演唱会：Towards the Light: Will to Power

For over 50 years, Hayao Miyazaki has been enchanting the world with his films. Tonari no Totoro (My Neighbor Totoro), Mononoke-hime (Princess Mononoke), Sen to Chihiro no kamikakushi (Spirited Away), or his latest film Kimitachi wa dō ikiru ka (The Boy and the Heron), to name only a few of eleven feature films, ten short films, several manga, and also through Studio Ghibli, a museum and a theme park. They form a luminous body of work and characters that have become cult classics. Miyazaki’s films, often autobiographical, also reflect the state of the world and the turmoil of the twentieth and twenty-first centuries, made of wars and ecological disasters. He was born in Japan in 1941, during World War II. As a child, he immersed himself in drawing manga until he had a revelation upon discovering Hakuja den (The White Snake Enchantress), the first Japanese colour animated film by Taiji Yabushita. From then on, he decided to devote his life to animation, this magical art capable of overcoming the darkness that had always deeply inhabited him... Thanks to exceptional access granted by Studio Ghibli to numerous film excerpts and rare Japanese television archives, we discover the life of Miyazaki as well as a profoundly ecological body of work that questions our relationship with the natural world and living beings. Thinkers like anthropologist Philippe Descola or philosopher Timothy Morton, as well as close associates, his son and film director Gorō Miyazaki, and Toshio Suzuki, his longtime producer and friend, bring us closer to this tireless, obsessive, and mysterious artist.

跟随第 31 海军陆战队远征队的成员，他们接受严格的训练，克服情感挑战，建立联系，应对海上生活的复杂性。

该片是首部全景式展现中国人民14年抗战艰辛历程的纪录电影。它深刻铭记了80年前，中国人民经过长达14年艰苦卓绝的浴血奋战，打败了穷凶极恶的日本军国主义侵略者，取得了中国人民抗日战争的伟大胜利。作为纪念中国人民抗日战争暨世界反法西斯战争胜利80周年的重点作品，影片以线性叙事还原1931年至1945年间，从民族危机到团结抗争的历史脉络，深刻讲述一个国家和民族长达14年的救亡图存史。

The beloved K-band DAY6 is making their long-awaited big screen debut with the cinematic music road movie 6DAYS.
DAY6, a band that stays evergreen, yet makes every day feel new. This summer, the four young men write what can only be described as their Time of Our Life. Celebrating their 10th anniversary, DAY6 embarks on a spontaneous road trip across America, fresh off a triumphant world tour.
6DAYS of DAY6 indulging in a radiant moment of youth. A cinematic road trip painted with dreamlike landscapes, and at the heart of it all, there was music.
More than just a concert film or travel documentary, 6DAYS is a story-driven road movie produced by MBC and DEJONG FILM, with investment and distribution by CGV ICECON and CJ 4DPLEX. The movie features the four members of DAY6, SUNGJIN, Young K, WONPIL and DOWOON.

这部纪录片由编剧、喜剧人泰格·诺塔洛（Tig Notaro）、著名歌手布兰迪·卡莉（Brandi Carlile）等担当监制，讲述两位才华横溢的诗人，安德烈亚·吉布森和梅根·法利的故事。“在最美的光影中，在电闪雷鸣的瞬间，我的爱人伴我左右。”吉布森在 ta 的诗作 Good Light 中这样写道。通过本片，诗人邀请我们一同见证 ta 对生命、爱与死亡的深刻思考。面对生命的有限，两人用诗歌和爱，书写了一曲动人的生命乐章。

香港红磡地区，富裕的中产阶级高楼耸立如林，林下遍布的却是破旧矮小、等待拆除重建的小楼住宅，以及汇聚于此的殡葬馆，矛盾地载着生者的轿车与亡者的灵车并行。每年，市民会前往附近观音庙祈求财富；当地拾荒者则从路上搜集「废物」，以期回收转化为几块钱。历时五年拍摄，记录红磡日常，重思建设发展与「废物」的意涵。

試當真以8個月時間紀錄一位過去只靠「天才波」的文憑試考生滕毅康，備戰公開試到放榜的心路歷程，在許賢串連各個補習名師加以催谷的情況下，可否在開考前4個月，成功追趕中四至中六未曾搏盡的進度，繼而順利考入大學？同時，曾是末代高考生的許賢以半工讀身份報考文憑試，從實戰中了解現今考生面對的困難及香港教育制度問題，亦透過考試解開埋藏於內心十年的公開試鬱結。

The National Gallery of London is one of the world's greatest art galleries. It is full of masterpieces, an endless resource of history, an endless source of stories. But whose stories are told? Which art has the most impact and on whom? The power of great art lies in its ability to communicate with anyone, no matter their art historical knowledge, their background, their beliefs. This film gives voice to those who work at the gallery - from cleaner to curator, security guard to director - who identify the one artwork that means the most to them and why. An assortment of people from all walks of life who have a strong connection to the gallery make surprising choices of both well-known and lesser-known artworks. Finally, some well-known celebrities explain what they head for when they visit the gallery. These stories are used as a lens through which to explore the 200-year history of the National Gallery and what the future may hold for this spectacular space.

In 2019, artist Sam Cox bought a mansion in the English countryside. Stripping it bare and painting all the walls white, he then spent two years covering every inch of it with black marker doodles—whimsical, surreal scribbles dubbed “Spaghetti Graffiti.” A stop-motion film capturing this endeavor propelled “Mr. Doodle” to global fame. What began as a total and imaginative artistic vision spirals into a breakdown, forcing a battle between his artistic passion and his mental health. As his loved ones grow concerned for his health, Sam remains resolute, and the film, deftly maneuvering between untamed creativity and carefully-measured balance, offers a remarkably honest attempt to find out if balance is something Sam can ever achieve.

塞琳娜·昆塔尼利亚——被誉为“德克萨斯音乐女王”——以及她的家庭乐队“塞琳娜与洛斯·迪诺斯”，从在十五岁成人礼上表演起步，最终发展到举办座无虚席的体育馆巡回演唱会。通过家庭私人档案中从未曝光的画面，记录了她一生的传奇和留下的遗产。伊莎贝尔·卡斯特罗带着对塞琳娜·昆塔尼利亚的深情致敬重返圣丹斯电影节（继2022年的《米哈》之后）。她巧妙地捕捉到了这位歌手的热情、谦逊以及她与家人之间深厚的情感纽带。与她亲近之人的访谈揭示了她成名背后的付出与牺牲，而怀旧的家庭录像则将我们带回20世纪90年代，提供了前所未见的巡演生活片段。这些家庭录像的温暖仿佛让我们与昆塔尼利亚一家坐在一起，亲身重温他们的旅程。卡斯特罗展示了塞琳娜的个人魅力和对表演的热爱，同时也为她的家人提供了空间，让他们能够庆祝自己的女儿、姐妹和妻子。无论是塞琳娜的忠实粉丝，还是刚刚开始了解她的人，卡斯特罗都提供了一个全新的视角来体验塞琳娜的遗产，并让人们忍不住想要高唱《像朵花》。

Having successfully tracked down NBA enigma Bryant Reeves in 2018’s festival hit FINDING BIG COUNTRY, director Kathleen S. Jayme now investigates a sprawling true sports crime: who’s responsible for robbing us of the Vancouver Grizzlies?
In revisiting the short history of the bad luck bears who racked up all the wrong kinds of records (see that 23-game losing streak in the 1995-1996 season), Jayme’s documentary doubles as a testament to the enduring passion of true teal blue fans. It’s this passion that fuels a dogged odyssey that finds Jayme infiltrating corridors of power at the NBA’s head offices and knocking on doors as she connects the dots and reconnects with the heroes and villains of Grizzlies lore, including former players like Shareef Abdur-Rahim and Mike Bibby, and the team’s architect, Stu Jackson.
The level of access is astonishing—there are “gets” that we don’t dare reveal—and so too is the candour of the interviewees. What emerges is a rousing story about the irrational fervour of fandom and sport’s unique ability to create identity, strengthen family ties, and forge community.