因为今年是威尼斯电影节70周年华诞，陈可辛与贝托鲁奇、金基德、贾樟柯等全球知名导演，以“重启未来（Future Reload）”为题，拍摄了70部短片，向威尼斯电影节“祝寿”。28日当地时间22时，这70部短片正式播出。

The project attempts to push the boundaries of cinema by juxtaposing it with ideas from philosophy, visual art, chess, mathematics, geometry, linguistics and psychology.

Nainsukh (born 1710, died 1768) was the greatest eighteenth-century Indian miniaturist, the son of the respected Pandit Seu and brother of the steadfast Manaku. He deviated from his family workshop style by following his interest for Mughal naturalism. At the age of thirty, Nainsukh was invited by Raja Zorawar Singh to his castle in Jasrota. Nainsukh served him until Singh’s untimely death, but was retained as court artist by his young son Raja Balwant Singh. These two dandy-like, non-ruling Rajput princes were connoisseurs who enjoyed spending their limited fortunes on entertaining colourful guests and they shared a refined taste in music, dance and theatrical performances. Nainsukh participated in their artistic amusements… —

The project attempts to push the boundaries of cinema by juxtaposing it with ideas from philosophy, visual art, chess, mathematics, geometry, linguistics and psychology.

Jangarh Singh Shyam, a famous Indian artist born in an isolated tribal village, committed suicide in a Japanese museum in 2001. I found on an old MiniDV tape the images of a trip I had undertaken in 2008, when I had gone looking for him in his native region.

According to Dutt, the film “attempts to gather these impressions and bind them into little booklets of poetry, sewn together with words and spaces that were responses to the images presented, sometimes culled from memory, sometimes simple observation, or a moment’s pause to wonder.

Mother, Who Will Weave Now? attempts to sample and mirror the grand tapestry of Indian textile tradition and history by interweaving snippets of Indian cloth on an editing table, using the poetic meters of classical Indian literature sewn together with the words and motifs of the weaver-saint Kabir.

An old palace, now a museum, stands alone above the riverbank overlooking the city. It houses a set of the finest miniature paintings ever created in the Himalayan region. Hundreds of people come here to admire the art every day. When evening comes, the curtains are drawn, doors are locked and gates are bolted. In the calm of the night, characters from the pictures spring to life. They tell of the eternal love between King Nala and his wife Damayantin. Once while gambling, the king lost his kingdom and they were forced to live in exile. Separating soon after, they experience numerous adventures and eventually reunite at the end.
Amit Dutta approaches this story with visual composure and concentration. He lifts the curtains with the greatest respect, to give life to love. He searches for the cinematic equivalent of this tale and expands the cinema, with the miniature.

Suggestions of ancient and modern myths and folklore coalesce in dreams to bring alive a colourful animated world.

An ascetic walks through the narrow streets of a village every morning while his family is still asleep. In his semi-somnolent state he dreams about the history of the village mixing up myths, folklore and facts.