This is a beautifully made and totally engrossing feature-length retrospective portrait of Kieslowski by a former student of his who is now one of Poland's finest documentary filmmakers. Maria Zmarz-Koczanowicz gives a lot of attention to the beginnings of Kieslowski’s career: his studies at the Lodz Film School and his first documentary films. The film recounts as fully as possible the artistic path of Kieslowski and the character of the man, presenting a portrait of a fulfilled artist, of a director wholly engaged in the drama of the time of his protagonists. An important aspect of the documentary is how it tries to explain the phenomenon of Kieslowski’s reception in Poland and abroad, as well as an analysis what is the standing of his work today and who is following in his footsteps. The film is richly illustrated with archival material as well as excerpts from the student, documentary, and feature films of Krzysztof Kieslowski. Zmarz-Koczanowicz uses the late director's own words as well as scraps of memories kept by his friends and colleagues: Wim Wenders, Agnieszka Holland, Slawomir Idziak, Jacek Petrycki, Grazyna Szapolowska, Tadeusz Sobolewski, Irene Jacob, Zbigniew Preisner, Marcin Latallo, Juliette Binoche, Andrzej Titkow, Andreas Veiel, Krzysztof Zanussi, and others. Loved and admired, Kieslowski was a filmmaker's filmmaker: "Cinema is about drudgery. It is about getting up early, about not sleeping at night, about fretting, about rain. This is cinema, this is real cinema. And the moments of satisfaction happen seldom." LINKS:

一名醉酒大叔误闯进一名靠想象来“旅游”的女博主家中，两人结下不解之缘。本片是新锐导演乔琪雅·法丽娜自编自导的第三部作品，集结了英国实力影星克里夫·欧文、戛纳影后伊莲娜·雅各布和意大利大卫奖影后杰丝敏·特丽卡，上演一出杂糅英语、法语、意大利语的心灵疗愈公路片。本片以“星期”为叙事章节，描绘了一对年龄相差悬殊、不打不相识的男女，渐次剖析活在谎言里的个体心灵困境，与此同时，通过找寻欧洲各地被遗忘的角落实现个人精神跨越，在轻盈慢调中缝合记忆与情感带来的创伤。

Melodrama about a man cursed with immortality, who tries to declare his undying love for a depressed actress.

Following his discharge from the Navy for hitting a superior officer, Loren takes a chance and moves to France, to learn haute cuisine under a four star chef...

Evan Lake, a veteran CIA agent, has been ordered to retire. But when his protégé uncovers evidence that Lake's nemesis, the terrorist Banir, has resurfaced, Lake goes rogue, embarking on a perilous, intercontinental mission to eliminate his sworn enemy.

what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip. and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster). unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality. but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart. go innocently.

Valentine marries at the end of the 19th century, and love passes through her family from generation to generation.

2009 film directed by Raymond Vouillamoz

The evil Iago pretends to be friend of Othello in order to manipulate him to serve his own end in the film version of this Shakespeare classic.

电影导演西奥·安哲罗普洛斯于2012年在雅典拍摄他的最后一部电影时，在街边被摩托车撞倒而去世。他的遗作讲述的是一个遭受无休止的经济危机的希腊，难民不断涌入，尽管如此，这个国家依然为维护本国的尊严而奋斗。但具有讽刺意味的是，救护车本应该及时到达，却由于预算限制无法维护车辆——这场危机本身杀死了西奥。在这封以电影为形式给安哲罗普洛斯的信中，揭示了这位导演生前所预知的危机即将来临：难民疯狂涌入，却因边境关闭而被困在希腊，公民进行抵抗，每天都生活在斗争中……

社会责任和个人幸福之间是否存在着不可调和的矛盾？影片中这几位生活在巴西里约热内卢的外国人都正经历着自相矛盾的纠结生活。夏洛特·兰普林饰演一位英国整形科医生，她却极力奉劝任何想要进行整容手术的人打消念头；伊莲娜·雅各布是一名来自法国的人类学家，但比起政治来，她对性更有兴趣；比尔·普尔曼身为一名美国大使，却一直想要逃离自己的职责，为此他竟然跑到里约热内卢最危险的贫民区躲了起来。这些人的故事交织成一出有趣的喜剧，里约热内卢真是名副其实的“奇迹之乡”。

14-year-old Hervé is an average teenager who lives with his mother and struggles to cope with his libido impulses, unprepossessing physique and mediocre intellect. His major preoccupation is dating a girl. Unfortunately, in this area, girls keep turning him down. But he hasn’t given up hope yet. One day, without really understanding how, it seems that Aurore, one of the prettiest girls in his class, actually likes him. Camel, his best friend, who is heavily into hand jobs and porn films, persuades Hervé to try to sleep with Aurore. Hervé boasts of his virility when he is with Camel, but when he is with Aurore, it's a completely different matter. 2009 Cannes International Film Festival – Director’s fortnight

在加拿大、法国合拍的爱情剧情片《战海情天》中，观众们可以辨识出多个名著爱情故事的片段嫁接：如《基督山伯爵里》里的男主人公被情敌出卖，直接导致和恋人的被迫分离，继而恋人嫁给了情敌；再如《巴黎圣母院》和《红字》里的神职人员无法抗拒自己对魅力女人的极端痴迷等等。 这些经典桥段组合在一起，借助于大的历史背景，显得更加荡气回肠。该片的制作可谓是大手笔，光筹备期就耗时5年，拍摄期为半年，片中大大小小的角色有上百个，由法国、英国和加拿大三国影星联袂出演，制备的戏服也有数千套，仅搭建布景的场地就占地约10多公顷。本片曾获2005年加拿大吉尼奖最佳艺术设计奖。 在18世纪中期，法国逐渐开始放弃对加拿大的争夺，青年探险家弗朗索瓦在乡间邂逅了美丽动人的玛丽•露普，爱火在两人频繁的接触中迅速蔓延，哪怕历史的洪流无法阻挡。弗朗索瓦出生上流社会，刚继承了父亲的遗产，而玛丽•露普是农夫的女儿，还是个寡妇，身边带着女儿法兰西，又认了可怜的土著女孩儿阿库娜当女儿。虽然两人地位悬殊，但在此刻爱情超越了一切。有着一双银蓝色眼睛的玛丽•露普个性十足，是很多男人追逐的目标。 除了两情相悦的弗朗索瓦，还有在集市上为她大打出手的士官泽维尔，目睹过她倔强性格的行政长官对她更是性趣浓厚。当然，教堂里的神父也对她牵肠挂肚。男人们的垂青让玛丽•露普很遭女人们的怨愤，不仅在神父身边修行的老女人们讨厌她，连和泽维尔有私情的女黑奴也想趁机加害于她。弗朗索瓦信任伙伴泽维尔，将他发现的行政长官的不法勾当告知了泽维尔，然而泽维尔出卖了他，行政长官立刻没收了弗朗索瓦的家产并下令逮捕他。 在被迫离开前，弗朗索瓦写信给玛丽，要求她同去法国，不识字的玛丽将信交给神父，请他阅读，神父不愿心爱的玛丽远走他乡，便撒了谎。等不到玛丽，弗朗索瓦只好黯然独行。英法在加拿大开战了，最终英国人取得了统治权。迫于生存压力，玛丽不顾法兰西的反对，嫁给了一直追求着她的泽维尔。然而，心中始终爱着弗朗索瓦的玛丽无法和泽维尔同房。弗朗索瓦返回了，他再次要求玛丽跟他走，当玛丽和法兰西在海边等待时，弗朗索瓦却在途中遭到了泽维尔的伏击，命悬一线。 接着，泽维尔痛打了玛丽，再接着，有人看到了泽维尔那被斧砍致命的尸体。顿时，小镇一片哗然，玛丽将法兰西送往修道院保护，女黑奴指认玛丽伙同她父亲杀了泽维尔。在法庭上，父亲为自保，放弃了玛丽，玛丽被判关在铁笼里吊死。重伤中的弗朗索瓦设法营救，终没结果，两人只获准见最后一面。20年后，神父不久于人世，要求见长大了法兰西法兰西匆匆赶来，告知了神父，当年是她杀死了企图强奸她的泽维尔，母亲为了保护她而情愿赴死。

Essentially a making-of of La double vie de Véronique, this documentary is based on an interview with Kieślowski held while he was making that film. Kieślowski discusses his personal philosophy on the process of making his films and the themes behind them, from his documentaries in communist Poland to La double vie de Véronique. A very well-made and thoughtful making-of.

It's three years later, and Noah, Alison, Cole, Helen and their families are trying to move on with their lives. But the past keeps coming back to haunt them, and the trauma of what they've been through cannot soon be forgotten.

A memoir of the lives of a family growing up on a post World War I British estate headed up by a strong disciplinarian, her daughter, her inventor husband, their ten year old son and his older sister. Through the household comes a number of suitors hoping to impress the young woman, including an aviator. When the elder woman's son shows up at the estate with his French fiancé, everything gets thrown into turmoil. The young boy takes a sudden interest in her sexual allure and his father is disturbed by his own non-Victorian feelings.

近未来，由于核电站爆炸，日本国土大半笼罩在重度核辐射的威胁之下。危急关头，日本政府被迫作出“弃国宣言”。与之相对，国际社会迅速制定了联合避难计划，日本国民按照名单的先后次序相继逃亡海外。作为难民的谭雅名次比较靠后，可她的身体情况又十分糟糕。在她的身边，童年时代的知心好友列欧娜也被留在这片绝望的土地上。人们一个一个地减少，而两位好友也迎来了说再见的时刻……

1987 autobiographical film directed by Louis Malle

Véronique is a beautiful young French woman who aspires to be a renowned singer; Weronika lives in Poland, has a similar career goal and looks identical to Véronique, though the two are not related. The film follows both women as they contend with the ups and downs of their individual lives, with Véronique embarking on an unusual romance with Alexandre Fabbri, a puppeteer who may be able to help her with her existential issues.