人生也许

不管你是藝術系哲學系還是電影系，請到此上這一課非一般東西方性別政治私房對話。卡辛斯（《電影史話》，36 屆）是電影學者、導演；雅芭莉是藝術家，涉繪畫至電影。他從蘇格蘭出發浪遊，她從伊朗出走自我放逐。他見到西方藝術勇於露體自行探索；她的東方女性成長伴隨着一件黑袍，裸露是底線。在散文電影的知性形式他們三度書信往來，從基阿魯斯達米的影片（雅芭莉是《10》的女主角），來回吳爾芙家門，Reza Abbasi 的畫，最後交織布拉姆斯的音符與Forough Farrokhzad 的詩句中。
　　A visual epistolary dialogue between filmmakers. Mark Cousins continues his personal essay approach to the life and creators of images, stimulated by an assignment to write liner notes for one of Mania Akbari's 20 Fingers. Akbari's contributions take on a different reflective tone as she traces her life in Iran, the stages of her exile and her experience with breast cancer and recuperation. The convergence of themes, subjects and love creates a cinematic fugue in two compelling voices.