Architect R.M. Schindler, transformed the way we see space and laid the foundation for what is now considered the California lifestyle of indoor-outdoor living. His life story (1887-1953) unfolds in parallel with that of Modern Architecture. The film follows Schindler's journey from Vienna through Chicago to Southern California, observing where possible through the lens of his own camera or listening to his own words. The story is told through narration, interviews, Schindler's theoretical writings, correspondence, photos and renderings of his many works and projects. This film explores his richly complex work, with its influences from the turn of the 20th century Vienna, the early work of Frank Lloyd Wright, the pueblos of Taos and the 20th century realities of Southern California. It is an investigation into Schindler's philosophy of Space Architecture as contrasted with the International Style that ruled modern architecture during most of the architect's life. It reexamines Schindler's complicated relationship with his mentor F.L. Wright and his rival Richard Neutra. The story asks key questions about the importance of domestic architecture in creating a national culture and as a living entity that shapes humanity. The film affirms the singular genius of one man, and the eternal challenge every artist faces to stay true to their vision in an effort to leave a lasting impact.

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这部电视剧讲述了一个充满悬疑、抗战和爱情的故事，故事背景设定在年的南京。主人公金深水，由张译饰演，他是一个拥有多重身份的人，在南京城里周旋于日本军方、汪伪政府和军统之间，为了保护自己和家人，他在夹缝中生存。而林婴，由郎月婷饰演，也是一个怀有国仇家恨的人，与金深水并肩作战，共同面对南京城里的明争暗斗。这部电视剧通过讲述金深水与林婴的故事，展现了在战争年代，个人在命运中的起伏和选择，也反映了当时中国面临的困境和挑战。

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在这个乱世之中，金深水为了保护自己的祖国，不断地在刀尖上前行。他的身份复杂，但他的信仰从未动摇，他始终坚定地寻找着民族生路的出路。而他与林婴的相遇，让他开始了一场新的冒险之旅，也让他开始意识到自己在乱世中求生的意义。

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　　、　　我说，慎二　　这才是我原来的发型　　我打小就被人嘲笑头发奇怪　　对头发讨厌得不行　　每个月做一次拉直每天早上花一个小时吹头发　　拼命把头发弄直了　　而且我啊，挺喜欢用sns的　　对人对物都非常留恋　　我唯一的兴趣就是节约　　其实全都不想扔的　　sns也是全天手机不离手地随时在看　　要是发现大家背着我玩得很开心　　我就会感到不甘心，肚子里翻江倒海　　一直想要快点告诉大家　　我和慎二在交往　　如果和慎二结婚了　　要是在sns上宣布我们结婚了

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影片回到了张律以前应有的水平。平缓的镜头运动建立了它的时间感，白塔和胡同街道建立了它的空间感，灰白调色让色彩不再饱和，带有一点不真实的、怀旧的情绪，像是一个梦。张律多次让不同时间、人物的镜头在同一空间内完成转场，放弃使用蒙太奇，增加了影像的层次和流畅感，让我的观感在意识和现实里徘徊。现实是当下的，意识是过去的。因此，技巧将故事抽离于浓稠的、具体的北京，给了我放弃“现实”的漂浮之感。由此我又获得了另一种“真实”：它抒发了强烈的忧愁，类似帕慕克在《伊斯坦布尔》一书里写的“呼