In Japanese aesthetics, Wabi-Sabi describes a continuous cycle of becoming and passing away. Temporality and age are inherent in every object and creature and, depending on one’s outlook, may transcend to infinity. How can this be imagined? What goes beyond it? The filmmaker Christoph Schaub starts his very personal journey through time and space in his childhood, when his fascination with sacred buildings began – and his wonder at beginnings and ends.Architecture helps separate the finite and the infinite. It offers protection from what is boundless, at the same time creating a sense of vastness, the narrator claims. Together with architects and artists he explores the magic of sacred spaces, defined here as far more than church buildings. The artist James Turrell, known, among other things, for his “Skyspaces”, reflects on who owns spirituality – fundamental for this film which follows “spiritual life” in architecture and the fine arts, but also in nature, and literally lifts it over and above the limits of thinking. A slightly floating camera immerses us in other-worldly, somnambulistic images, takes us on a sensual and sensing journey through vast spaces, and guides our eye towards the infinity of the starry sky and the depths of the ocean. Past and present, primeval times and light years, it’s all there.
Walter(理查·詹國(guó)語(yǔ)斯 Richard Jenkins 飾)的生一成不變20多年來(lái)教同阘非門程,與別一起合著己沒有出半分力的,請(qǐng)私人師學(xué)鋼琴難以與人處。生活悶如一潭水。直到他合著出的shelly待產(chǎn)而無(wú)法前去加學(xué)術(shù)年換成Walter出席,他的生才贏來(lái)轉(zhuǎn)。由于妻去世而極去紐約的Walter一回到紐的家赫然現(xiàn)家里有個(gè)陌生人誤會(huì)過后明白這對(duì)情侶是被所騙才租這間屋子Walter讓他們留下敏山Tarek是來(lái)自敘利亞太山情的小伙,熱愛打,他的女則是來(lái)自內(nèi)加爾的人。Walter被Tarek的開朗所打,跟他學(xué)鼓,還跟他去公園加少數(shù)族的打鼓練。這天Walter與Tarek練習(xí)過后著回家,地鐵時(shí)因要過鼓Tarek錯(cuò)過了最好的關(guān)卡的機(jī),從關(guān)卡跳過時(shí)被察逮捕拘。Walter這才知道他們句芒法移民,為他聘請(qǐng)師東奔西,毫無(wú)進(jìn)之際Tarek的母親Mouna(西亞?阿巴斯 Hiyam Abbas 飾)因?yàn)閾?dān)心兒子上門,Walter安撫這位母焦急的情,帶她去約四處散,二人產(chǎn)一種互相得理解的愫。Walter從學(xué)校請(qǐng)了長(zhǎng),決定留紐約,去他認(rèn)為真有意義且得去做的?