Jeanne

本杰明想成为一位伟大的医生，对此他深信不疑。但在父亲所在的医院部门的第一次实习，却事事不如意。实践比理论要难得多。责任过重，他的父亲常常缺席，和他一起实习的阿卜杜勒，是位比他经验丰富的外国医生。本杰明将突如其来地直面自己的局限，自己、病人、病人家属、医生及医护人员的恐惧。他的医生生涯的真正启蒙开始了。

两位少女成为好友并决定一起度过暑假。 　　她们身体里的叛逆因子促使她们追求罪恶，反对基督教义。 　　然而她们的恶作剧却演变成一场杀人事件。 　　面对世界上的丑恶，她们最终选择了揭露并自愿为此放弃生命奔向死亡。

聚焦两千年前的著名大战、德国历史重要事件——日耳曼人与罗马帝国的条顿堡森林战役，其中“那不为人知的故事”，以三个命运相互联系起来的年轻人的视角展开。

在一场混乱后，小混混丹尼斯突然成了中风患者雷蒙德的看护。他原本只想闯入雷蒙德的房子，以偿还一些骗子的债务。而现在的他，恰恰相反，被“囚禁”在富商雷蒙德的房子里。雷蒙德因为中风发作，所有行动被限制在轮椅上。与此同时，雷蒙德的孙女夏洛特前往照看他，“巧遇”宅子里的丹尼斯，这无疑打乱了丹尼斯的计划。然而，逃离绝不是一种好的选择，因为该地区正遭受暴风雪的肆虐。因此，丹尼斯必须继续扮演看护者的角色。与夏洛特相反，雷蒙德却是早已看透丹尼斯。就此，一场“就地取材”的猫捉老鼠游戏，在行动不便的年长者和聪明的年轻人间展开……

热闹的嘉年华来到平静沉闷的小镇，两对青年男女：艾米•哈勃（ElizabethBerridge饰）、巴兹•克莱蒙特（CooperHuckabee饰）、里奇•艾特伯雷（MilesChapin饰）和莉兹•杜肯（LargoWoodruff饰）结伴前来玩耍。长夜将尽，年轻人兴致盎然，不愿离去。莉兹提议彻夜留在欢乐屋内，得到众人一致同意。然而他们却在这里看见一个身材巨大、戴着科学怪人面具的恐怖杀手（WayneDoba饰）。随后他们更惹怒了欢乐屋的主人，一场针对这四个年轻人的杀戮旋即展开……

一个17岁的女孩和她的父亲一起照顾她的精神和身体严重残疾的妹妹。这越来越让人筋疲力尽，因为她不得不牺牲自己的生命和梦想。情绪失控，爱很容易变成恨。怎么过这样的生活？有没有可能在这里找到一个折衷方案？　　一部出色的电影，将那些被迫在这种情况下的人的经历和选择带到了一个可怕的接近，这样做非常现实，没有悲情。只有对这个话题有透彻的了解才能做到这一点。导演玛歌·邦霍姆本人在一个有残疾人士的家庭中长大——她照顾过自己的妹妹。多年来，她一直把这个故事带在身边，现在她用自己的心血书写了这个故事。

简是一位作家，也是一名年轻的母亲。简的医生丈夫约翰为了对产后忧郁的妻子进行休养治疗，带她去了一个偏远的乡村庄园避暑。简被丈夫为她精心挑选的卧室里的黄色壁纸迷住了。之后，简发现一个女人竟被困在壁纸中，简试图解救她。。。

本片是关于老年合唱团"Young@Heart"的纪录片，"Young@Heart"成立于1982年，成员多是年过半百的老人，其早期成员大多经历过战争创伤，二十多年来，这群老人从来没有停歇过，创作了大量的舞台剧和音乐剧，并翻唱了多乐队的歌曲，包括JimiHendrix，Coldplay和SonicYouth等，他们的精神正在感动越来越多的人……

Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'　　By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses.　　Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together.　　One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around.　　While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with hisher partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken.　　Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...

简是一位作家，也是一名年轻的母亲。简的医生丈夫约翰为了对产后忧郁的妻子进行休养治疗，带她去了一个偏远的乡村庄园避暑。简被丈夫为她精心挑选的卧室里的黄色壁纸迷住了。之后，简发现一个女人竟被困在壁纸中，简试图解救她。。。

一位女性因为她丈夫的罪行而入狱，而她唯一的出路是解开她神秘过往中的谜团。

M女士每天早上都要趟海，以治愈她的痛苦。但她并不是她假装的那样：她和她的伴侣蓬皮利乌斯一起，通过欺诈和勒索来资助她的奢侈生活。爱上了年轻的兰伯特，她即将打破自己的伪装，因为蓬皮利乌斯不愿意接受这个年轻人。

Vienna, 1920. The Austro-Hungarian Empire has collapsed. Peter Perg returns home from the Great War, after seven years as a Russian POW. Vienna is experiencing the multiplicity of political, social and artistic freedom, but also the rise of anti-democra

她典当最后的家当，一个金十字架，他震惊于她的美丽，多给点钱，她不肯要。美女与押店店主，一个珍视灵魂，一个贪求物质。错配的婚姻，开场已知结局：她用死亡换取自由。往后是押店店主第一人称故事，苦寻妻子自杀原因但徒劳，观众如堕迷雾，他自圆其说，画面故事益发绷紧。她的神秘，是布烈松的留白，观众的解读空间。导演爱把演员变“模特儿”，本次找来真模特儿杜明妮桑德，不因为她美，而是看中她的声线，但桑德的静，有澎湃感染力。布烈松第一部彩色，令温柔添残酷实感。

An impassive young girl is taken from her suicidal London life, back to her home in North England on a bizarre bus trip. Seen through the poetic eye of the camera, this is a commentary of doomed British morbidity. In HD.

OUR OWN 是一部关于 Magalie 的社会悬疑片，这个少年别无选择，只能重新掌控自己的生活。克服一切困难。

In sepia tones, the film moves back and forth among three periods in Robert Tucker's life he's an old man, near death, in a nursing home at Christmas time; he's in middle age caring for his cheerful but dying mother; he's a lad at Catholic school, practicing his catechism, going to confession for the first time, receiving the Eucharist, surrounded by the singing of a children's choir. In middle age, he looks through his scrapbook of photographs of muscular men; he recalls lovers and his mother's cremation. A nurse sits beside him on his last night; in his last breath, he reaches forward and back..

法国有个疯狂喜剧的传统，这一部简直得心应手。单是情节已经够颠，雌雄密探去学歌剧，想刺探寡妇学生可能拥有的绝密情报，却发现歌剧班像间谍集中营，人人来者不善，觊觎寡妇团团转。大颠大肺密集笑弹背后，其实讲音乐，讲现代情欲，也讲纯真不再。所有角色在跟时间赛跑，寡妇的歌星梦来得太迟，女间谍恨抱仔时候已过，舞男追赶他青春的水尾，只有男间谍像早点沧桑。歌唱班像是身心大解放的场所，性爱刻画大胆对白睿智精警，剧情发展天马行空，自创一格。

一个男孩因为向父母讨要零花钱失败，去当了自己的手表，却换回一张500元法郎的假钞。之后，这张假钞在很多人之间转手，最后落到了一个叫伊文（克里斯琴·佩蒂 Christian Patey 饰）的年轻人手中。伊文试着去餐馆花掉这张假钞，但被服务员发现了。警察认为他参与了假钞贩卖案而逮捕了他，但法官念他初犯，没有给他判刑。伊文释放之后，丢了工作。没有了钱，他只好和朋友去银行抢劫，却又一次栽在警察手里，被抓进监狱，被判刑三年…… 本片是布列松的最后一部作品，改编自托尔斯泰的短篇小说《伪息券》，曾获第36届戛纳电影节主竞赛单元最佳导演奖。

菲尔的苦恼是突然发现他的毛发发疯一样的生长，一小时不修理就面目全非！年轻的家庭主妇凯瑟琳一天掉了钱包、呼机和手提，此后，她就不断的接到一个陌生女子打来的电话，这个女子就是一天24小时带着墨镜的特瑞。 　　该片试图揭露片中人物的内心世界，当发现一个人的另一面时，往往让人体会到真实，在男女主人公古怪、离奇的言语与行动中，使观众陷入独一无二的恐惧感里。

威尔斯唯一一部公映的彩色电影，故事依旧奇情：澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。　　The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.

19世纪，描写美与丑的文学作品风靡一时。“美”之古怪亮丽，有供人欢愉的脱衣舞会所，有病势严重的私生子，有麻木不仁的上层人士，有父亲之命的婚姻，还有未遂企图的凌辱糟蹋，以及其他。“美”之感情丰富，既有美丽者如真爱，也有残酷者如恐惧与恨。被身处社会上层的爱人无情抛弃之后，可 怜的女人为了支付儿子的医药费，无奈旋舞于众人之前，卖弄色相。受迫于父亲之命，心早有所属的姑娘不得不面对即将于一位年逾古稀者结为夫妻的残酷现实。　　摄于1921年，法国马塞尔·莱皮埃导演，片头字幕中特别注明：这是一出“闹剧”，表达了莱皮埃对汤玛斯·英斯那种平凡的轶事式的题材的轻视，他以标新立异的形式讲述了西班牙舞女西比拉的悲剧命运。莱皮埃从法国的印象派画家和美国的格里菲斯以及瑞典的斯约斯特约姆的艺术成果中吸取营养，把特技作为重要的电影表现手段。影片中精练而完美的摄影技巧，使西班牙的户外风景和室内布景协调一致，并对剧情发展到起重要作用。影片还探讨了艺术技巧抒发激情的方法。

种植园主的妻子向邻居开枪，但讲述的故事相互矛盾。

本片由多个恐怖而有趣的小故事组成

Sam(MatthewBroderick)isthereasonablemaninacrazyurbanworld,themanofthoughtfulnessandrefinedtasteinalandscapeofLeroyNeimanpaintingsandbeercommercials.Theguywouldsoonercookforanhouroverahotstovethansay`supersizeit.’Bydayhe’sastoreclerkinanupscalegourmeteatery,andthesescenesraiseasmile,especiallyforanyonewho’svisitedtheactualchaininNewYorkCity--theportrayalisn’tfarofffromthereality.OurmanisbesiegedbyhoardsofcustomerswhowanttheirimportedFrenchcheesecuttoimpossiblyexactstandards.Hiseffortstoremainoutwardlypolite(whileyouknowhe’dliketotakethecleavertotherelentlessclientele)areprettyfunny,andwillwarmtheheartsofclerkseverywhere.Ingeneral,Broderickisingoodformandprovidesthemoviewithmostofwhateverlightnessitpossesses.Sciorra’slovelorndentalhygienist,Ellen,isfineenough,too,andherunknowinginteractionwithourcheese-slicingheroshowssomehopefulchemistry,andyoumaybegintofeelyouwanttoseethesetwogettogether.Oneofthemaincompetitorsforourlady’saffections,astockbroker(KevinAnderson),isplayedascaricature:he’sthebeerswillingfrat-boywhoseideaofafter-sexsensitivityisflippingonthefootballgame.He’skindoffunnyattimes,butthemoviemightbestrongerifhewaswrittenoractedforustolikehimmore,insteadofhavingusmerelyrecognizehimastheflat-out`wrong’guyincomparisontoBroderick’ssensitiveman.ThinkofJohnCandyinSplash,takingacigaretteandbeercantotheracquetballgame;weknowhislifestyleisnottheoneourheroshouldemulate,butwecan’thelpbutbecharmedbythelikeablegoon.Whereasthischaracterismerelyagoon,andprettyunlikableallaround.Whileit’saniceenoughlightmovieforthefirsthalf,formethestorywassomewhatderailedbyitsunbelievable(Hollywood)presentationofsexandadultery.(SPOILERAHEAD,skiptonextparagraph.)WhenEllenreturnshomeafteranevening’smisadventures,sheisnaturallyfacedwiththequestioninghusband(MichaelMantell).Quicklyadmittingherownindiscretion,shethenimmediatelyturnsthesituationaround,demandingtoknowwhytheguyhadgoneaheadandboughtahousewithoutdiscussingit.Granted,it’savalidissue,andgranted,manypeopleusethiscounteringmaneuverinarguments.What’sunbelievableiswhathappensnext:theguystartsrespondingtoherquestion,addressingthehouse-issueinaquiet,thoughtfulmanner.WHOA.You’dbehardpressedtofindamarriedpersonintheworldwho,whenfacedwithhis/herpartner’stotallyunexpectedadultery,wouldbereadytoaddressanythingsocalmly.Theguywouldsurelybebouncingoffthewalls,orelsecrushedintosilenceandtears-butsee,thenwemightactuallyfeelforthepoorschnook,andwe’dseeSciorra’scharacterinapoorlight.Andsincethatparticularaudiencereactiondoesn’tservetheromanticcomedy,thestorytriestosneakaroundit.Youmaystarttofeelthat,likethehusband,you’rebeingtaken.Furtherdissatisfactionisjustaroundthecornerintheending.Werealizethisiswheremisunderstandingswillgetsortedout,andourcouplewillfinallyseeaclearpathtooneanother.Wewantthesatisfactionofrootingforthem.Butit’smarredbyanotherunbelievablecharacterreaction,followedbyanabruptconclusionthatfeelsrushedandforced,tooeasyandunearned.Youmayfeelasthoughthemovie’scheatingonyouagain...

在现代西雅图呆了六个月后，身无分文又孤独的雷决定回到他沮丧的家乡该地区，完成他的高中四年级。回到家后，他很快就与老朋友和旧习惯重新建立了联系。

威尔斯唯一一部公映的彩色电影，故事依旧奇情：澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。