令人震撼的片段，引人共鸣的细节，前所未有的拍摄流程。让我们一窥这部创新巨作的幕后纪实。

Six acclaimed foreign directors will shoot short films about Istanbul. Unutma Beni Istanbul (Do Not Forget Me Istanbul) is part of a project carried out within the scope of the city being European Capital of Culture 2010.

The movie will be a romantic film featuring two people who are not right for each other. The story is about Prajakta's character who is a tech wizard and the guy who is interested in her.

Four different hit-men find themselves viewing for a job without knowing the others are involved. Crime, money and violence in London are at the center of this tale of modern Babylon.

The lines start with “O Somma Luce” which is the title of the film and also the 67th line of the 33rd canto in “Paradiso” of Dante’s “Divine Comedy” to the end of “Paradiso”.  The film is completed with music and lines instead of emotions and narrations.  This is a recent attempt to combine film with literature.　　The film begins with a black screen and the music of Edgard Varese. The BGM is “Deserts” that was recorded in 1954. After some moments of darkness, the music ends and a middle-aged man sits on a hill, reciting something. He is Giorgio Passerone, an Italian literature professor, and he is reading out of the last part of ‘Paradiso’ of Dante’s Divine Comedy. Jean-Marie Straub expressed how he thinks of Dante through a subtle accent and dialect. The director who had encoded many great artists and musicians including Bach, complete the combination of Dante and Varese, which could seem strange. (Lim Kyung Yong)

即将高中毕业的Chris一直在苦恼到底怎样庆祝自己的高中生涯，朋友给他提了个建议，大家一起在Chris家里开一个盛大的派对，派对的意义在于从此大家都成了真正的成年人。这一天，Chris的父母也同意出远门，并让孩子有属于自己的天地，一切都会像Chris想象的那样顺利吗？

Fourteen-year-old Farha dreams of attending school in the city with her best friend Farida, but she knows that, as the daughter of the mukhtar (the head of the village, played by Ashraf Barhom), she is in for an uphill battle against tradition. Girls Farha’s age are expected to marry.　　It’s 1948, and British control over Palestine is coming to an end. What Farha and her father do not yet know is that forced displacements are already happening across the region. When Israeli bombs reach their village, Farha’s father locks her in the cellar of their home, promising to return as soon as he can. While Farha waits and watches through the cracks, the village she was so excited to leave is transformed to ruin, threatening an end to the future she had planned and leaving only trace memories in its wake.　　A dauntless and compelling feature debut by Jordanian filmmaker Darin J. Sallam, Farha captures both the isolating terrors of war and the lingering beauty that can colour recollections of dispossession — a mental record of the last laugh shared, the faint smell of freedom before the void of exile. An impressive lead performance from newcomer Karam Taher punctuates catastrophic loss with uncompromising determination.　　In this remarkable and devastating story, Sallam’s resonant directorial voice presents a penetrating perspective on the Nakba and returns the gaze to a cultural legacy in the midst of a global resurgence.