主演：Ib,Koch-Olsen
导演：卡尔·西奥多·德莱叶
简介：The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.
主演：韩东霖,崔一梁,赵垣又,姜钰佳,李卓尧,姜熙饶
导演：曹梦宇
简介：顾清颜（崔一梁 饰）为找到杀父仇人莫先生而成为舞女，并与身怀家族仇恨的杀手叶一凡（韩东霖 饰）相识，两人成为合作关系。当她逐渐剥开迷雾时，却发现自己心中最大的仇人原来就是自己爱上的人，而叶一凡一直寻找的灭门仇人也将线索指向了顾家，两人在仇恨与爱情中纠结痛苦，却又无法控制的时候，叶一凡的另一个身份被顾清颜发现，顾清颜意识到原来所有美好带有目的，所有情深带有蓄意，于是虐恋升级，可她不知叶一凡早已为爱沦陷，直到一个人的出现让他们发现阴谋背后的真相，一切终揭开。
主演：肖屺楠,陈昊
导演：陈涛
简介：內容介紹:馬克是一位現代社會中典型的“白骨精”，在經受著都市生活中事業、愛情、生活的多重困擾後，他決定掙脫鋼筋水泥構築的牢籠，去找尋屬於自己的精神王國。一張圖片，一篇報道，一句話：森林之王就應該到森林中去，激起了馬克去野生動物保護區懇請管理人員把獅子放養，讓獅子回歸自然的念想。當馬克出發之後，一路相伴的不隻是風光，更有埋藏已久的理想。而旅途中的邂逅，也為馬克的艱辛跋涉多了幾分浪漫色彩。馬克與李欣終於見到了夢寐以求的獅子，他們用行動保護著這個似乎凶猛卻一樣脆弱的群體，他們希望管理人員能夠將獅子放養而不是困在鐵籠裏。而最後一場出人意料的《獅王歸來》的影展更是把故事推向了高潮……
主演：西尔维娅·巴塔耶,雅内·马尔肯,安德烈·加布里埃洛,加布丽埃勒·丰坦,让·雷诺阿,乔治·巴塔耶,雅克·贝克,亨利·卡蒂尔-布列松,Jacques,B.,Brunius,阿兰·雷诺阿
导演：让·雷诺阿
简介：故事发生在1860年的巴黎，杜弗先生（安德烈·加布里埃洛 André Gabriello 饰）带着妻子（雅内·马尔肯 Jane Marken 饰）、女儿昂利艾特（西尔维娅·巴塔耶 Sylvia Bataille 饰），以及在店里帮忙的小伙计安纳道尔（Paul Temps 饰）一起前往乡间度假，他们的目的地是布兰叔叔（让·雷诺阿 Jean Renoir 饰）经营的小旅店。乡间的景色十分的怡人，气温也恰到好处，吃过晚饭后，杜弗先生带着安纳道尔去钓鱼了，亨利（Georges D'Arnoux 饰）和赫多尔夫则陪着杜弗太太以及昂利艾特去湖上划船。哪知道杜弗夫人和赫多尔夫之间竟然碰撞出了激情的火花，而昂利艾特也难敌亨利的热烈攻势，顺势倒在了他的臂弯中。
主演：毕扬·丹斯曼
导演：Babak,Anvari
简介：男子学校的课堂上，男孩们等待着老师的到来。当一脸严肃的男老师走进来的时候，气氛一下子变得沉闷不堪。教室广播突然响起：同学们，今天学校将会有一些改革和变化。你们的老师将会对于你们的未来给出建议和规划，而你们需要做的就是仔细地听取老师们的建议，并严格遵从他们的指示。你们将是学校和同学们的骄傲。广播播报完毕后，男老师在黑板上写下“2 2=5”。大家都非常吃惊，这根本就不符合常理。但是老师宣称这是让男孩们学会的第一个“真理”。一片安静过后，男孩们都跟随老师一起读着。终于，一个男孩举手质疑这个答案。可是在老师的强迫下，他默默地坐下了。此时第二个男孩也站起来跟老师争辩。可是老师的答案却是：你不需要任何思考。男老师甚至找来大学生来恐吓这个男孩，他的同班同学更是不想惹祸上身。老师再次疾言厉色地问道：答案到底是几？男孩毅然在黑板上写下了：4。随之，悲剧的一幕发生了……
主演：金在炯,全信焕
导演：李宋喜一
简介：长官俊英（전신환 饰）和士兵基泰（김재흥 饰）在军队服役时曾是一对恋人。俊英提前退伍后开始尝试融入主流社会，并且交上了女友。他和基泰的通信也从炽热到平淡如水。基泰利用服役的最后一次假期出来寻找俊英，希望履行两人当年的誓言：一起结伴去南方。为了带俊英上路，他偷偷将安眠 药 下在饮料中。于是汽车载着脱队的逃兵和熟睡的爱人，在接天的莲叶、炎夏的蝉鸣和沿途更迭的新绿陪伴下静静向南开去......凭借《不后悔》成为韩国独立电影焦点人物的李宋熙日说《南行》“主要在讲述同性恋和异性恋的分界。”他认为很多人在性取向上是机会主义的境遇型，但社会却“要求人们的欲望循规蹈矩的迎合预期，从而给很多人带来了认同的痛苦。”《南行》与《忽然之间，去年夏天》、《白夜》一同构成李宋熙日讲述酷儿爱之痛的“两天一夜”三部曲。
主演：林泽辉,徐轸轸,朱旻昕,何适,刘芯予,张哲旭,高凯,祝昕愿
导演：方毅武
简介：忠臣内阁首辅苏氏之女苏莹莹（徐轸轸 饰）在嫁给二皇子谢予衡（朱旻昕 饰）当天，被谢予衡率兵以苏首辅通敌叛国为由杀灭全家，谢予衡也由此登上太子之位。三年后，苏莹莹归来意欲为父沉冤昭雪，查清通敌叛国一案，和七皇子谢屹安（林泽辉 饰）联手，伪装成谢屹安身边的丫鬟素樱。两人从假银票案入手，发现案子与苏首辅、谢予衡相关，便深入调查。两人也由一开始的不对付到互生情愫，齐心协力、不顾危险亲身接近假银票案的涉案人员，一步步接近真相，也由此揭穿了谢予衡意图谋权篡位的阴谋——原来谢予衡不是皇室血脉，他为了争夺王权，制造假银票聚敛财富，行贿百官且培养杀手组织“朱雀阁”来铲除异己，因为苏首辅生前查到谢予衡是假银票案的主谋，故而谢予衡命人盗取苏首辅的官印，伪造苏首辅通敌的文书来陷害苏首辅。
主演：玛格丽塔·莫菲诺,Pablo,Lugones,Guillermina,Pico,Martín,Tchira,Vanina,Montes
导演：Sabrina,Campos
简介：Vera and Bruno used to be a couple, but haven't seen one another since they separated. He coincidentally appears before her during a long-awaited country house weekend with friends on the outskirts of Buenos Aires.
主演：Sari,Akasaka,Kyoko,Hanyu
导演：大林宣彦
简介：Experimental short film depicting the life, perhaps real, perhaps a dream, of a young girl named Emi. Emi travels to the city where she encounters her counterpart, Sari, and falls in love with...a vampire
主演：福田爱依,木户衣吹,五十岚裕美,秦佐和子
导演：未知
简介：写真家・長谷川圭佑が初監督した、儚く美しい女性同士の＜関係性＞を描いたオムニバス映画。明るくてクラスの中心的存在の少女といつもひとりで読書をしている少女を描く「Episode1 17歳と17歳」、自由でマイペースでどこか人と違う魅力がある先輩と、同じ大学の後輩を描く「Episode2 21歳と20歳」、そして、都会から離れた自然豊かな公園に車でやってきたロリータ服の女性2人組の旅を描く「Episode3 31歳と30歳」と3つのエピソードで構成される。
主演：伊丽莎白·班克斯,凯特·布兰切特,迈克尔·凯恩,布莱德利·库珀,布莱恩·科兰斯顿,保罗·达诺
导演：彼得·林德伯格
简介：Behind the scenes on fashion photographer Peter Lindbergh's shoot for the February 2016 W Magazine's annual 'Best Performances' portfolio, featuring appearances from some of the leading actors and actresses presented in the portfolio.
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：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 keptVoice 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 pointBetter 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：马克桑斯·达奈-弗伟尔,鲁伯特·韦恩-詹姆斯,萨比恩·克洛森,Anaïs,D'Alyciade,Jean-Michel,Dubreuil,Agatha,Maksimova,Louise,Molinaro,Anaïs,Parello,Eléonore,Sarrazin,Axel,Baille
导演：乔里斯·福肯·格里莫德
简介：The House of Gaunt - Lord Voldemort Origins is a short film directed by Joris FAUCON GRIMAUD about Voldemort origins.The House of Gaunt is an unofficial short film who tells about the Voldemort origins, inspired by the Harry Potter universe from J.K. Rowling's book « Harry Potter and the Half-Blood Prince ». It is freely adapted for the screen and directed by Joris FAUCON GRIMAUD. This is a non-profit movie production that is unaffiliated andor controlled by Warner Bros.Made by fans for fans.
主演：内详
导演：未知
简介：苍茫的大西山区里，住着孤零零的一户人家。哥哥与妻子带着傻弟弟，靠哥哥外出开车拉货为生。三人孤僻寡言，虽缺少沟通，却也平淡安逸。然而，突然一天，哥哥不再外出跑车，而是强迫着弟弟学开车。弟弟反应慢，哥哥便会拳脚相加。弟弟不明白发生了什么事，而嫂子似乎知道，只是不说，默默忍受着哥哥的无情与暴力。终于，弟弟学会了开车，哥哥急迫地赶走了亲人，随后却被赶来寻找羊皮的人，威胁并且抄家，而他却以粗犷暴力的方式，让家人继续活下去，自己葬身在茫茫火海之中。