主演：帕特丽齐娅·高里,杰克·泰勒
导演：阿兰·佩埃特
简介：美丽的医生，被囚禁在纳粹集中营使用她的技能来保存 SS 军官爱上了她的生活。然而，施虐狂的女党卫军军官认为他是她的私人财产，并已毫无顾忌地使用她的马鞭，鞭，殴打和酷刑虐待以确保它保持这种方式。
主演：艾洛迪·布歇,梅尔维尔·珀波,Sophie,Aubry
导演：迪戴·豪德品
简介：别名：Le plus bel age..., 本片讲述的是在巴黎的一所学校理发生的事情。学校的男生总是会戏弄新生，而且非常的过分，女学生克劳德在当日坠楼身亡，另一位女学生德尔菲那目睹了这个悲剧，出于好奇她开始追查这件命案，她找到了克劳德的前男友阿塞尔，还有克劳德的弟弟，她爱上了阿塞尔，并且象个受虐狂一样忍受着阿塞尔对她的无礼，然后阿塞尔为了让新生成为一个男人尔让德尔菲那去挑逗新生并且跟这个新生上床，这个新生就是克劳德的弟弟，克劳德的弟弟爱上了德尔菲那，之后德尔菲那跟克劳德的弟弟同居，并且趁此机会在克劳德的家偷偷观看克劳德死前拍的录像，原来克劳德在当天看到阿塞尔带着男生们在侮辱自己的弟弟，而且其实她一直对阿塞尔很是不满的，在阿塞尔追出来想对她解释的时候她一下子就跳下了楼，德尔菲那看到了这一切后来到阿塞尔的房间，用女上尉的方式操了阿塞尔并且羞辱了他，之后出于妒忌并且不明真相的克劳德的弟弟杀了阿塞尔。
主演：布拉德·戴维斯,弗兰科·尼罗,让娜·莫罗
导演：赖纳·维尔纳·法斯宾德
简介：一艘船停泊在布瑞斯特港，船上有个名叫奎雷尔的英俊水手（布拉德 戴维斯 Brad Davis 饰）。他被船上少校赛隆（弗兰克 尼洛 Franco Nero 饰）暗暗迷恋着，还和船长罗伯特（汉诺 波西尔 Hanno P ouml;schl 饰）保持暧昧关系；他勾搭当地酒吧老板诺诺（冈瑟考夫曼 饰），主动在色子游戏里输给他以便和他发生关系；他贩毒，还杀掉了同伙，警察马里奥（伯克哈德德里斯特 Burkhard Driest 饰）盯上了他，又迷上了他；年轻人吉尔（汉诺 波西尔 Hanno P ouml;schl 饰）也爱上了他，还被他嫁祸杀人罪名；诺诺的妻子吕西娜（让娜莫罗 Jeanne Moreau 饰）也对他兴趣满满 hellip; hellip; 英俊的奎雷尔，狠心的奎雷尔，谁也说不清他到底爱谁，谁都甘愿做他手里的棋子，塞隆上校看着一切，知晓一切，每天对着录音机讲述自己的爱慕之情
主演：伊莎贝尔·阿佳妮,Alain,Souchon,Suzanne,Flon
导演：让·贝克
简介：1976年的夏天，19岁的女孩艾丽娜 middot;维克（伊莎贝拉 middot;阿加妮 Isabelle Adjani 饰）随着父母搬到某个乡下小镇。艾丽娜青春亮丽，性感逼人，她的到来使整个小镇的男性都陷入躁动之中，人们风传关于艾丽娜的各种绯闻。在此期间，绰号皮蓬的消防员弗朗利蒙多（Alain Souchon 饰）也深深迷上了艾丽娜。在一次舞会上，皮蓬和艾丽娜走到一起，继而迅速陷入爱河。然而艾丽卡接近皮蓬似乎另有目的，她的母亲早年被三个人强暴，之后生下艾丽卡。许多年后，这个冶艳的复仇女人重返小镇，发誓手刃那三个男子 hellip; hellip;
主演：内森奈尔·布朗,帕兹·德拉维尔塔
导演：加斯帕·诺
简介：遁入虚无(完整不删减) [精装中文字幕],一场车祸夺去了父母的性命，年幼的奥斯卡和妹妹琳达发誓永不分开。成年后，奥斯卡（Nathaniel Brown 饰）漂泊来至东京，为了实现童年的誓言，他以兜shou毒品赚取钱财，终于为琳达（Paz de la Huerta 饰）挣得了飞来东京的机票。兄妹相遇，却终是随波逐流的个体。在这个繁花乱坠迷人眼的大都会，奥斯卡继续进行毒品交易，而琳达则在一家夜总会大跳艳舞。在一次交易时，奥斯卡遭到警察围捕，混乱中更被枪击身亡。他的意识渐渐脱离肉体，穿梭在东京的大街小巷，关注跟随每一个在他生命中留下痕迹的人，等待着下一场不知何时才会开始的轮回 本片荣获2009年Sitges ndash; Catalonian国际电影节最佳摄影奖和评委会特别奖。
主演：米基·洛克,安吉·艾佛哈特
导演：Anne,Goursaud
简介：在纽约广场饭店一间豪华房里，约翰与一位蒙着眼睛的金发美女激烈ML，但是又冷漠，一切结束后，约翰付钱给女人，女人离去之前问到：对了，伊历莎白是谁？门关上后，约翰陷入无边的寂寞和痛苦中，所有关于伊丽莎白的回忆又一幕幕重现，不论他做什么，总会想起伊丽莎白，想起他已失去她。 约翰飞往巴黎参加一个艺术品拍卖会，拍卖会散场时，约翰看到一条十分眼熟的领巾，他冲向披着领巾的女人，结果大出约翰意料的是，领巾竟是伊丽莎白的，丽亚告知约翰伊丽莎白已经身亡，丽亚道出，伊丽莎白一直忘不了约翰。他想让自己能跟其他人一样，拥有正常的爱情生活，但是他失败了，不管如何，伊丽莎白的阴影总挥之不去，尽管又百般无奈，丽亚终究只能看着约翰孤独。
主演：扎拉·怀特,Karla.Klein
导演：Jean-Yves,Pavel
简介：为拍摄一部广告，Joy飞去了莫斯科红场(Red Square)。刚到那儿，她遇见一位出租车司机欲招募年轻sexy的女郎。事实上，这是由臭名昭著的Rasputin为首的特别网络，它逼迫受害者用自己的魅力来满足富有游客的各种要求...
主演：克里斯蒂安·贝尔,李·罗斯,埃尔莎·齐尔贝斯坦,埃米莉·沃森
导演：菲利普·萨维尔
简介：影片改编自英国后现代主义文学作家朱利安;巴恩斯（Julian Barnes；1946年1月19日~）发表于1980年的同名长篇小说处女作（公认为《伦敦郊区》）。片名Metroland有;（伦敦）地铁 和;（伦敦）郊区 的词义双解，本片片名与人们熟知的小说原作《伦敦郊区》不同的是，它旨在影射伦敦地铁不断向郊区扩张所造成的郊区居民的意识转变。20世纪70年代。克里斯Chris（克里斯蒂安贝尔饰）的朋友托尼Toni（李 罗斯饰）在消失了十年后突然又出现了，为这平静的伦敦郊区小镇和克里斯带来了变化，克里斯受了托尼的影响和诱惑，接触性、毒品及摇滚乐，他们无忧的生活对克里斯的婚姻造成了冲击。克里斯虽然忘不了他与巴黎美女阿妮克Annick（埃尔莎 齐尔贝斯坦饰）的狂爱时刻，但他还是开始存疑自身的价值、生活方式和与妻子玛丽昂Marion（埃米莉 沃森饰）之间的关系。最后，克里斯必须选择是要过不负责任的生活来继续享受玩乐，还是面对严酷的现实回到妻子玛丽昂身边......
主演：内详
导演：Bruno,Hullin
简介：Afterhavingreceivedanumberof“GuestCreatures”onitsmythicalstagesuchasDitaVonTeese,itisChristianLouboutin’sturntotakeoverLeCrazyHorse.ThefamouscreatoroftheredsolerevisitstheCrazyshow. The3Deffectsaddedduringpostproductionlikesequins,water,flamesandsmokereinforcetheimmersion.“Wedrawtheeyeasclosetothebody,themuscles,t...
主演：友兰达·梦露,艾玛纽尔·塞尼耶,菲利普·托雷顿,Clément,Brill
导演：Franois,Hanss
简介：夜总会的托衣舞女劳拉（Emmanuelle Seigner 艾玛纽尔 塞尼耶 饰）邂逅了自称职业为画家的男人马克（Philippe Torreton 菲利普托雷顿 饰）。马克向其展开汹涌的感情攻势，并许与其幸福、无忧的生活。劳拉答应了他的求婚，但在独自驱车回家的途中，劳拉遭遇一场离奇的车祸。 再次醒来的劳拉耳朵失聪，手臂布满烧伤痕迹，而马克用温柔和耐心温暖着劳拉受伤的身心。六年时光倏忽而去，他们拥有了一个可爱的男孩基诺（Cl eacute;ment Brilland 饰）。偶然的机会，劳拉发现马克一直隐瞒着的秘密
主演：本尼西奥·德尔·托罗,德米安·比齐尔,桑地亚哥·卡布瑞拉,维拉迪米尔·克鲁兹,朱莉娅·奥蒙德,埃尔薇拉·明戈斯,卡塔琳娜·桑地诺·莫雷诺,罗德里戈·桑托罗
导演：史蒂文·索德伯格
简介：1952年，古巴独裁者巴蒂斯塔上台，他所率领的政府在国内实行高压统治，对国外则推行亲美政策。切•格瓦拉（Benicio Del Toro本尼西奥•德尔•托罗 饰）于1955年和菲德尔•卡斯特罗（Rodrigo Santoro 罗德里格•桑托罗 饰）在墨西哥城相会，随后加入卡斯特罗组织的“七二六运动”。次年，格瓦拉与其他81名起义者一同踏上推翻巴蒂斯塔独裁政府的征程……
主演：娜塔莎·金斯基,彼得·弗斯,利·劳森,约翰·科林,罗斯玛丽·马丁,托尼·丘奇,Brigid,Erin,Bates,Jeanne,Biras,约翰·贝特,汤姆·查本,Geraldine,Arzul,Stephanie,Treille,Elodie,Warnod,Ben,Reeks,杰克·斯蒂芬斯
导演：罗曼·波兰斯基
简介：苔丝（娜塔莎·金斯基 Nastassja Kinski 饰）出生于英国乡村的一个小农家庭，一天她的父亲听说自家是古老贵族德伯维尔的后裔。这个传闻，让苔丝的一生发生了剧变。因为有一个姓德伯维尔的有钱人家就住在不远，父母让苔丝前去攀亲。 苔丝的美貌让德伯维尔家的少爷阿雷克（利·劳森 Leigh Lawson 饰）心生邪念，他夺走了苔丝的贞洁，让苔丝怀上了孩子，然而孩
主演：Giorgio,Passerone
导演：Jean-Marie,Straub
简介：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)
主演：贝蒂·施奈德,贾尼·埃斯波西托,弗朗索瓦丝·佩武
导演：雅克·里维特
简介：故事发生在1957年的法国巴黎，安妮（贝蒂·施奈德 Betty Schneider 饰）在哥哥的带领下参加了一个聚会，在聚会上，她邂逅了特里（弗朗索瓦丝·佩武 Fran?oise Prévost 饰）和戏剧导演杰拉德（贾尼·埃斯波西托 饰），杰拉德正在排演一出莎士比亚的戏剧，剧组遭遇了经济困难，为了帮助杰拉德攻克难关，安妮决定加入剧组。 特里的男友胡安前段时间遭遇了不测，虽然表面看来他是自杀身亡，但特里和安妮都觉得其中必有蹊跷。菲利普（Daniel Crohem 饰）从美国逃亡到法国，他告诫特里和安妮，让她们注意自己的人身安全，不要重蹈胡安的覆辙。在排演的过程中，安妮一直试图寻找着胡安自杀的真相。
主演：埃尔威·米姆兰,Louis,Bec,Saskia,Cohen,Tanugi,Colette,Bonnet,Pierre,Esposito,Catherine,De,Barbeyrac,Folco,Chevalier,Michèle,Nespoulet,友兰达·梦露
导演：Agnès,Varda
简介：1984年七月， Varda 在 Avignon 的一棟養老院裡看到一個名為《活生生與人造的》（Le vivant et l'artificiel）的展覽。展覽場裡，藝術品與動物、人工心臟、發霉的牆壁混亂地共存著。視覺上的震憾讓她久久不能自己，於是她決定帶領我們，重回險地。我們看到一間間住宅，或空的、或滿的。隨著時間流逝，卻留下奇怪的痕跡。另外， Varda 也在這家養老院裡遇到了即將是《無法無家》裡的「女僕」 Yolande Moreau 和「老太太」 Marthe Jarnias 。Varda 曰：『在高速火車的搖晃下，我無法讓自己不去想–那些我的精神正試著去吸納的不協調的影像。一到巴黎，我立刻打電話給 Louis Bec 和 Bernard Faivre d'Arcier ，要求他們讓我去拍這個展覽，不是為了去理解它，而是為了從中汲取靈感。他們答應了。幾天之後，我們出發前往拍片。在回到 Avignon 的高速火車的搖晃下， Nurith Aviv 要求看我的大筆記，好知道他將要拍的是甚麼。筆記紙幾乎還是空白的，我們只看到一些標題：廚房、父母的房間、用餐、窗戶。所有的家庭生活都註記到了，但沒有一樣是準備好了的。整部影片完全是以即興的方式去拍的，沒有標記、沒有脈絡。我只不過是跟隨著因參觀現場而感受到自己真實的心臟跳動，和那些仍然令人感到溫暖的老人的存在。』A. Varda,1993年, in Varda par Agnès, Ed. Cahiers du cinéma, 1994.
主演：Danièle,Huillet,Jean-Marie,Straub
导演：Pedro,Costa,Thierry,Lounas
简介：Six unused scenes from WHERE LIES YOUR HIDDEN SMILE? One of the more priceless of the "bagatelles" in this collection features a lounging Jean-Marie Straub who gives a non-stop disquisition on liberty and filmmaking while Danièle Huillet busies herself with laundry, and their dog Melchior frisks in and out of frame.
主演：朱丽安·摩尔,斯蒂芬·迪兰,埃迪·雷德梅恩
导演：TomKalin
简介：又名: 野蛮容光 / 浮华陷阱 / 兽xing的诱惑 / 野蛮的优雅，芭芭拉 bull;戴利 bull;贝兰克（朱丽安 bull;摩尔 饰）美艳动人，她的丈夫布鲁克林（史蒂芬 middot;迪兰 饰）是一名探险家。虽然丈夫腰缠萬贯，让芭芭拉的生活富足，但她的生活并没有想象鈡幸福，因为丈夫到处探险的关系，她常常得不到丈夫的陪伴，因而变得让人感觉十分水xing杨花。儿子托尼（艾迪 bull;雷德梅纳 饰）成为了她的一切，并常常牵制儿子做事。芭芭拉了解托尼是名同xing恋，并极力撮合祂与西班牙钕友的嗳情，可是托尼最后并没有跟那名钕孩在一起。布鲁克林却跟儿子的钕友私奔了，这样令芭芭拉感到十分难过。托尼也十分不舍得父亲的离开，祂也目睹了母亲自父亲离开后的痛苦。之后祂们四处为家，一直患病的芭芭拉还曾自杀过。芭芭拉多年来一直没有放弃要让儿子变回异xing恋，她竟然要与儿子发生关系，以让儿子尝试xing嗳的味道。终于，托尼再也无法忍受母亲了，一把尖刀刺向了芭芭拉 hellip; hellip;
主演：Melanie,Lenz,Verena,Lehbauer,Joseph,Lorenz
导演：尤里西·塞德尔
简介：天堂三部曲之希望。主角是《天堂：爱》中的女主角特瑞莎的女儿。这个13岁的女孩肥肥胖又无礼。当她的妈妈前往肯尼亚度假的时候，她参加了一个奥地利的减肥夏令营。在这个夏令营里，她爱上了夏令营的负责人。这个男人比她大了整整40岁，关于他，我们只知道他是一个医生。因为今后不可能在一起，医生拒绝了这个小女生的示爱 hellip; hellip;
主演：劳伯娜·阿比达尔
导演：Antoine,Desrosières
简介：Yasmina的姐姐Rim虽然不在，但她却和自己及姐姐的男友Salim与Majid一同来到了停车场。Rim对此一无所知，因为Yasmina向她极力隐瞒了一些事情。这些事情让她难以启齿、满怀羞愧。一切都被Salim拍摄在一段视频中，而这段视频能给她带来难以预料的后果。
主演：安妮·康斯金尼,安托万·夏佩
导演：Anne,Villaceque
简介：Paule，年近50,和丈夫Alex及女儿一家本活得乐也融融，但是安逸的生活却发生了危机。一向循规蹈矩的丈夫背叛Paule，在社交网站搭上一大截小女友，随之还向Paule提出离婚。人生已走了一大半，Paule明白及时行乐才是正道
主演：Pamela,Stanford,Guy,Delorme,Lina,Romay
导演：Jesus,Franco
简介：商人帕特里克带着妻子玛丽安和女儿琳达度假。帕特里克的老朋友洛娜显示了琳达的18岁生日的时候，需要女孩的身体和灵魂的恶魔，性占有。一个富有的商人帕特里克，考虑她和他的妻子到一个有名的du场度假胜地的南法国，地方，20年前，他曾赢得的钱，使他来开始他的生意，并开始庆祝他的女儿琳达的18岁生日他上升到顶部。在du场中，他遇到了美丽而神秘的罗娜，他第一次遇到20年前的那个晚上。她提醒他，他做了一个承诺，然后她回来。她是他的成功背后的力量，现在她已经回到了要求她的奖励 - 他的女儿，琳达。杰西 middot;佛朗哥侵恐怖的杰作
主演：内详
导演：居伊·德波
简介：Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.Our camera has captured for you a few aspects of a provisional microsociety.The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."?Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"? can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.Voice 2: Years, like a single instant prolonged to this point, come to an end.Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.Voice 1: Really hard to drink more.Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.To really describe this era it would no doubt be necessary to show many other things. But what would be the point?Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
主演：Serge,Renko,卡特琳娜迪达斯卡鲁,谢丽埃勒·克莱尔,阿曼达·朗格勒,埃马努埃尔·萨兰热
导演：埃里克·侯麦
简介：以上世纪西班牙內战为背景的政治惊悚片，前沙皇将军菲欧多带着妻子移居巴黎后，过着神秘的生活，在公产主义者受到压制的法国，菲欧多却公开声称自己的真实身份是间谍，而且是个三重间谍，同时服务于俄国的白军和红军，甚至德国的纳粹军。1936年的欧洲，正值西班牙内战时期。身为前任沙皇军队将军的费欧多携着他年轻的希腊妻子阿茜诺一同移居巴黎。法国人对战争漠不关心，只管取笑西班牙人。阿茜诺同情她的共产主义邻居，费欧多的态度却很暧昧，他频繁地外出，谁也不知道 他去了哪里，做了什么，他还公开宣称自己是间谍。他究竟是为谁工作的？他是忠于沙皇的白军？红军间谍？纳粹分子？还是个三重间谍？
主演：Omar,Sharif,伊莎贝尔·阿佳妮,伊莎贝尔·阿佳妮,Isabelle,Adjani
导演：Fran?ois,Dupeyron
简介：15岁的以色列小男孩莫塞斯（Pierre Boulanger 饰）和父亲（Pierre Boulanger 饰）住在巴黎蓝色大道一幢贫穷脏乱的公寓中。母亲（Isabelle Renauld 饰）离家出走，父亲整天沉迷于书本，还编造出一个并不存在的优秀的哥哥打击莫塞斯。本该享受童年快乐的小男孩压抑阴郁，在附近的流莺献出了自己的第一次。莫塞斯去附近的土耳其穆斯林亚伯拉罕先生（Omar Shariff 饰）的杂货店里偷盗，被亚伯拉罕发现。和蔼的老人原谅了眼前这个小男孩，并亲切地向他传授知识，一老一少从此展开一段弥足珍贵的忘年交……
主演：凯德·麦拉德,萨米尔·盖丝米,艾尔弗雷德·雷利,让-吕克·文森特,塔蒂亚娜·罗乔,苏莱曼·达兹,马修·斯皮诺斯,安妮·梅林格,克劳迪·维纳斯特汗比,科琳娜·马尔尚,金吉·罗曼,让娜·比蒂诺娃,穆尼尔·马戈姆
导演：阿奇得.哈米
简介：西蒙（凯德·麦拉德 Kad Merad 饰）曾是一名非常有名的小提琴演奏家，对这项乐器充满了热情与喜爱，可是如今，他却现身巴黎的一所初中之中，成为了那里的一群六年级孩子们的小提琴老师。西蒙对待音乐的态度非常的严肃，他自己的个性也十分不苟言笑，因此无法和班上的孩子们打成一片，孩子们在调皮捣蛋的同时也非常惧怕这位老师。 阿诺（艾尔弗雷德·雷利 Alfred Renely 饰）是一个非常害羞的男孩，和班上的其他孩子不同，他对待小提琴有着和西蒙一样的热爱。阿诺的憧憬渐渐点燃了西蒙内心里快要熄灭的火焰，在阿诺的影响下，西蒙找到了人生新的方向。
主演：劳尔·卡拉米,尼西姆·雷纳德,比翠丝·法奎尔,罗曼·布劳,马克桑斯·蒂阿尔,萨姆·卢维克,黛安娜·克鲁德兹伊斯卡,阿姆兰·拉彻,瓦伦蒂娜·帕皮克,梅丽莎·古尔斯,莱昂娜达·古因兹伯格,金·哈姆雷切特,莎拉·欧娃扎娜,马希尔·菲基赫-斯利梅恩,科尔内留·德拉戈米雷斯库
导演：塞西尔·杜克罗克
简介：Marie, an independent and militant sex worker who has never needed to rely on anyone, not even to raise her son. When the latter is thrown off his post-graduate cookery course, Marie is unable to make her peace with it. Dreaming of a greater future for him, she decides to sign him up for one of the best cookery schools in France, but her income won’t cover the tuition fees. She needs to find a solution, at all costs. Even if it means leaving France…