簡(jiǎn)介：　　奈良美智，日本著名現(xiàn)代藝術(shù)家，其最著名的作品便是那個(gè)始終流露著孤獨(dú)和憤怒的情感的大頭小女孩?！肮陋?dú)和疏理感”給了他創(chuàng)作的原動(dòng)力，并最終帶其踏上成功的階梯。如今，奈良美智在世界上許多國(guó)家都有著為數(shù)眾多的粉絲，那一幅幅真情畫作在他們的心中激起共鳴，憤怒的小女孩恰如每個(gè)人靈魂深處最躁動(dòng)的部分。
　　進(jìn)入新千年，奈良美智終于帶著他的孩子舉行了世界巡展。在此之后，他回到老家青森投入到“A to Z”回顧展的準(zhǔn)備工作中去。攝像機(jī)跟隨著這位忘我的藝術(shù)家走遍世界各地，見證了粉絲們對(duì)他的崇敬與愛戴，真實(shí)記錄了他創(chuàng)作中的點(diǎn)點(diǎn)滴滴，更觸摸到他內(nèi)心深處那不著痕跡的轉(zhuǎn)變。只有時(shí)間周而復(fù)始，永未結(jié)束……

簡(jiǎn)介：　　Mexico is one of the world’s most dangerous countries for journalists. But courageous reporters continue to do their work regardless; without the press there would be no one revealing the extent to which crime and politics are intermingled. The judicial system hides behind claims of insufficient evidence to prosecute crimes, while journalists are the ones who provide such evidence.
　　In State of Silence four journalists discuss their work. One of them investigates illegal logging and environmental pollution, while another writes about police violence against migrants attempting to cross the border. The risks are great, and threats are commonplace. Almost 200 reporters have disappeared or been murdered since 2000.
　　A law was passed under President López Obrador enabling journalists and human rights activists to seek refuge in the US—but doesn’t leaving everything that you love behind you, mean the criminals have won? Some of the journalists return to Mexico because their work is too important. “When a journalist is murdered,” says one of them, “society’s right to be informed dies, too.”