主演：娜塔莉·贝,塞尔吉·洛佩斯,雅克·维亚拉,保罗·帕维尔
导演：弗雷德里克·丰泰纳
简介：这部由弗雷德里克丰泰纳执导的《情色逸事》是56届威尼斯电影节最富争议的参赛影片；娜塔莉贝凭借精湛的演技获得了该电影节的最佳女演员奖。影片的主角没有姓名，只以;他 ;和;她 代替。两个人每周二都在固定地点会面，ML，却互相连姓名，联系方式都不知道，这也足够令人惊奇了。纵欲？一夜情？激情？ 两个人通过杂志联系，从来没见过面。他们在眼光相逢的刹那间，便决定坐到了一起。没有太多语言，甚至没有互相介绍，她邀请他去酒店。他虽然有些惊讶，可也没有拒绝。他开始有点喜欢她了，所以在猜测她的背景，却一直都没有问她
主演：Daniel,Mesguich,加布丽·拉佐,Cyrielle,Clair
导演：阿兰·罗布-格里耶
简介：又叫: La belle captive / The Beautiful Prisoner某个安排中的奸细华特（Daniel Mesguich 饰）在酒吧遇见了一位无名女子并为其深深招引。华特履行上司莎拉的指令驱车面见某参议员时再次遇到那名女子，她被捆绑着昏倒在路面上，华特将其救起，寻到一处别墅恳求协助，但别墅里怪异的黑衣大家反把二人看押，当夜华特与女子发生了联系。 一觉醒来，华特发现周遭改头换面，女子石沉大海，室内只留下一副名为《秀丽的女俘》的抽象画和锁链。报纸上失踪的参议员未婚妻相片清楚即是昨夜的女子，华特逐渐发现个人堕入了无法解析的幻景，他的查询触碰不到工作的本相反而引出更多无法了解的说辞。一队黑衣人四处搜索华特的踪影 华特转醒过来，发现一切遭受仅仅春梦一场，但当他出门的时分，令人讶异的景象再次出现。
主演：雅克·斯皮埃塞,卢德米拉·米卡埃尔
导演：伯纳德·奎桑
简介：由佩雷克的作品改编成的电影却少之又少，一九七四年，法国青年导演Bernard Queysanne改编自佩雷克小说的处女作《沉睡的人》应该算其中最著名的一部了，影片获得了当年的法国让维果奖。这部散文式结构的黑白电影讲述一个普通的年青学生打算在喧闹的城市中与世隔绝以体验一种最极简化的生活，随着时间的流逝，他的生活越来越单调，行为也越来越机械，然而他的内心却愈加能更清晰地观察这个世界，他每天不断的沉思和冥想自己就好像行走在巴黎的大街小巷中，与各式各样的人群交流，同样在思考自己以前的生活状态...整部影片的风格很像同属于七十年代的杜拉斯的作品，全片没有一句对白，只有人物的行为动作，臆想中的场景和长得不能再长的长镜头，还有就是大量的画外音，由一个女声用法语朗读出男主角每天的日记，这无疑是一部个人风格化的实验电影，影片的其他方面比如摄影，剪辑等都还有不少值得细看的地方。
主演：夏洛特·兰普林,布律诺·克雷梅,雅各·诺勒
导演：弗朗索瓦·欧容
简介：主授英国文学的大学教授玛丽（夏洛特·兰普林 Charlotte Rampling 饰），在其端庄切不可侵犯的外表下，隐藏着沉睡已久的蓬勃欲望。她与丈夫让（布鲁诺·克雷默 Bruno Cremer 饰）几十年的生活平淡如水，波澜不惊。这一切，却被丈夫的失踪击得粉碎。某个海滨的早晨，让独自离开度假小屋，一去不返。在此之后，玛丽似乎竭力控制着自己的情感，她设想丈夫仍在身边，每天陪她逛街、采购、聊天，生活一如既往。不久，一具尸体被打捞上来。玛丽的自我麻痹结束，她开始试图了解丈夫的一切，却发现夫妻俩的隔阂与疏离如此之深。而在这一过程中，关于让的行踪也变得扑朔迷离，或生或死，永无定论……
主演：玛丽·德纳尔诺,玛丽-索娜·孔代,乌马尔·迪奥
导演：奥德蕾·埃斯特鲁戈
简介：32岁的法国护士娜塔莉有个她狂爱的未婚夫男友乌马尔。两人保持着遥远的异地恋，娜塔莉非常期待他每个周末从布鲁塞尔特地赶来同她温存与ML。有一天晚上，在与他的姐姐索娜去迪厅消遣，娜塔莉接受了一个同事达米安医师搭车回家的提议。结果，他进入她家强暴了她。娜塔莉不敢将这件事告诉任何人，只是不断通过洗澡洗刷自己，试图删除被奸污她的回忆，甚至企图割腕自尽。娜塔莉的生活在继续。她尝试找回正常生活，却在一定程度上开始颓废。发现受孕的她作践自己，频繁出入夜场，饮酒欢愉，任由不相识的男人侵犯自己。不久，她将自己受辱的事情告诉了乌马尔，两人随即分手。从此，娜塔莉开始远离她的朋友，借酒消愁。最后，经过索娜的帮助，娜塔莉向警方报案......
主演：利诺·文图拉,里奥·吉恩,苏珊娜·弗罗恩,罗伯特·哈迪,蕾雅·马萨利,Pierre-Michel,Le,Conte
导演：克洛德·皮诺托
简介：一个研究能源的不出名的法国物理学工作者克莱芒·蒂贝尔，1957年在维也纳出席国际热核会议途中被苏联一个披着交响乐队指挥外衣的克格勃分子鲍利斯绑架去苏联。后来蒂贝尔在克格勃的胁迫下为苏联原子能研究所工作了10多年。16年后，蒂贝尔(化名哈里科夫)作为苏联科学代表团的一名成员，到英国伦敦参观英国新制的热核装置。英国反间谍机关在预谋的车祸中绑架了蒂贝尔，并送到医院打了针剂，使之昏迷。苏联驻英使馆人员匆匆赶到，医生说：“哈已死亡。”不久又伪称已火化。英国当局要蒂贝尔供述混在英国科学家中的克格勃分子，蒂贝尔同意了。这些特务被一一逮捕。英国反间谍机关给了蒂贝尔一笔酬金、一支自卫手枪，让他回法国。克格勃知道蒂贝尔未死并已叛变潜逃，便密令部下追踪，并把他杀死。蒂贝尔一离开英国谍报机关。就处在克格勃的包围之中。他东躲西藏，到处逃命。他逃到法国，在小饭馆里与已改嫁的妻子玛利娅见面，感慨万千。短暂的相会以后，为了逃避克格勃的追踪，又继续逃。他偶然发现鲍利斯也在法国，便冒着最大的危险，乘鲍利斯为日内瓦广播电台录音的时刻，设法混进他的住处，搜出鲍利斯传递情报时用的乐谱作为罪证寄给了法国保安部门。法国当局拘捕了鲍利斯。克格勃无奈，只好不杀死蒂贝尔，以便取得法国释放鲍利斯的交换条件。蒂贝尔以后的命运究竟怎样？看来谁也无法预测。
主演：萨米·弗雷,Ann,Zacharias
导演：Nelly,Kaplan
简介：别名：少女艾曼妞,影片是朴素的，叙述方式采用顺序，但不乏精彩片段。女孩西比利是个自我偏执狂，她对性 爱的研究态度：好奇、客观、冷漠。比如，她以自我解决体验女性快感，她让邻居男孩脱光裤子，拿着放大镜研究阴茎、阴囊，她偷窥母亲与女朋友的同性 爱场面，也偷窥母亲与父亲**过程，并把母亲的性梦：每个男人围着桌子转，每一个都对我有所期待。提取成优美的文字。她对大人世界冷眼观顾，像富有侵略性的冷血动物 侵犯;他们，甚至最后，她为了得到真真切切的性 爱体验，引诱书商与她发生关系，冷静地观察书商对她所做的每个细节。享受不是她的目的，重要的是她对性写作的敬业精神
主演：蕾雅·赛杜,黛安·克鲁格,维吉妮·拉朵嫣,诺埃米·洛夫斯基,泽维尔·布瓦,米歇尔·罗班,茱莉-玛丽·帕芒提耶,洛丽塔·夏马,玛莎·科夫曼,弗拉基米尔·康斯金尼,多米尼克·雷蒙,安妮·波努瓦,埃尔韦·皮埃尔,阿拉丁·瑞贝尔,雅各·诺勒
导演：伯努瓦·雅克
简介：故事发生在1789年的法国凡尔赛宫，革命的热潮席卷了整个国家，居住在宫中的王公贵族们成为了革命者们攻击的对象。为了保命，很多人决定逃跑，可是皇后玛丽（黛安·克鲁格 Diane Kruger 饰）却无法放下她高贵的尊严。长久以来，波利内公爵夫人（维吉妮·拉朵嫣 Virgi nie Ledoyen 饰）和玛丽皇后保持了暧昧而又亲密的关系，而这一次，保全波利内公爵夫人的性命则成为了玛丽皇后首当其冲需要解决的问题。西朵妮（蕾雅·赛杜 Léa Seydoux 饰）只是一介小小侍女，但她对玛丽皇后的忠臣和爱慕是任何人都无法相比的，即使到了这个紧要关头，她依然希望能够守在玛丽皇后的身边，为她卖命。于是，西朵妮顺理成章的成为了玛丽皇后手中的棋子，而她并不知道，自己将要面临的是怎样的命运。
主演：塔雷克·布达里,菲利普·拉肖,朱利安·阿鲁蒂,凡妮莎·吉德,何塞·加西亚,玛丽-安娜·夏泽尔,丽姆·柯里奇,尼古拉·马里耶,尚塔尔·拉德索,帕科·布瓦松,菲利普·杜克斯纳,安妮-索伦娜·哈特,拉德赫·贝莱彻,卜拉欣·布哈勒,约瑟夫·萨赫拉乌伊,丹尼尔·科恩,杰若梅·勒·班纳,乔伊·玛绍德,马哈玛德·桑伽勒,索雷曼·奇巴
导演：塔雷克·布达里
简介：瑞恩（塔雷克·布达里 Tarek Boudali 饰）是一名职业经历并不是很丰富的警察，因为他胆小懦弱的性格，导致瑞恩在职场中常常沦为被嘲笑的对象。瑞恩暗恋一位名叫斯蒂芬妮（凡妮莎·吉德 Vanessa Guide 饰），但他的恋情似乎并没有得到对方的回应。一天，瑞恩突然被医生告知，他患上了不治之症，只剩下30天的生命了。在人生的最后30天里，瑞恩决定一扫往日畏首畏尾的形象，干一笔大的。瑞恩找到了代号老鼠（何塞·加西亚 José Garcia 饰）的毒枭，假装和他合作盗取警方的资料，实际上，瑞恩拿走了老鼠的佣金，过起了花天酒地的生活。但是很快，瑞恩就发掘，这样的日子并不是他真正想要的。
主演：德尼·梅诺谢,扎拉·阿米尔·阿布拉希米,维克图瓦尔·杜布瓦,奥斯卡·寇普,Luca,Terracciano,Rapha?l,Ferret,Roxane,Barazzuol,Valentine,Atlan,Guillaume,Pottier,雷米·佩德维拉,朱莉·穆利耶,Lo?c,Corbery,朱莉-安妮·罗斯,巴斯蒂安·乌盖托
导演：纪尧姆·雷努松
简介：Written by Guillaume Renusson and Clément Peny, the story (which won the Audience Award for Best Screenplay for a First Feature Film at Angers’ European First Film Festival) revolves around Samuel who, in the aftermath of a recent tragedy, leaves to get away from it all in his chalet in the Italian Alps, a place of passage for migrants looking to cross the border between Italy ...
主演：丽兹·布罗谢,皮埃尔·派瑞尔,卡尔·E·兰德尔
导演：让-马克·巴尔
简介：别号: 二十岁的共犯/美国翻译/American Translation当你爱上一个人后，却发现了他人道的阴暗面，你会怎么办？躲避？告发？仍是协助纠正？本片叙述的便是一个反常连环杀手的爱情故事。从置疑，到知道，再到亲眼目睹，女主人公能否还能坚持对他所爱？而男主人公又将做出如何的行为？ 本片的故事头绪明晰，但不够紧凑。本片标准之大令人咂舌。暴露，ML，杀人，抛尸，各种重口味局面层出不穷。用某些评论家的话来说便是;不黄不暴力，就不是导演Pascal Arnold的个性男女主角的敬业扮演也是稀少难得的.
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：Jean-Bernard,Guillard,Philippe,Deplanche,Jean,Badin
导演：劳尔·鲁伊斯
简介：关于故事的故事，一切要从这年青学生的怪遭遇讲起。他刚杀了人，双手血仍未冷，第一件要做的事，却是到附近的舞场，聆听这醉酒水手的传奇一生。不记得多少年前，水手从自己的家乡启程，搭上一艘由幽灵驾驶的远航船。鬼船的诅咒是：他是唯一一个船上的生灵。鬼船在拉丁美洲各个港口漂荡，水手随船到处经历，在船上、妓院、码头间度过比神话更匪夷所思的历险。这许多魔幻经历，满有波赫士小说的魔幻神采，而以别创一格的视觉及美术效果呈现，反映出拉乌尔 鲁兹(Raoul Ruiz)对超现实、表现主义影像的驾驭，可谓惊世骇俗。
主演：Mina,Farid,札伊亚·蒂哈,伯努瓦·马吉梅尔,努诺·洛佩斯,克洛蒂尔·蔻洛,丽丝·洛米,Henri-Noël,Tabary,Cédric,Appietto,Nico,Max,Tedeschi
导演：丽贝卡·兹罗托斯基
简介：奈玛（丽丝•洛米 Lise Lomi 饰）是一个天真而又单纯的16岁女孩，暑假就要来临了，和暑假一起来临的，还有奈玛期盼已久的生日，过了这个生日，奈玛将又向看似丰富多彩的成年人世界迈进了一步。在这个夏天，一直在巴黎生活的表姐索菲亚（札伊亚•蒂哈 Zahia Dehar 饰）回到了奈玛的身边，索菲亚和奈玛见过的所有女孩都不同，浑身上下都散发着神秘的魅力。奈玛很快就被索菲亚给深深的吸引了，索菲亚的存在让奈玛和好友度度（克洛蒂尔•蔻洛 Clotilde Courau 饰）渐行渐远，甚至背叛了两人之前的约定。在海边，索菲亚邂逅了名为安德斯（伯努瓦•马吉梅尔 Benoît Magimel 饰）的男子，他散发出的艺术气息令索菲亚深深着迷。
主演：加朗斯·马里利埃,桑德尔·丰泰克,Bakary,Keita,Amir,Bettayeb,Virginie,Acariès,Mamadou,Minte,Gradi,Beinz,Pierre,Langlois,苏莱曼·达兹,埃莱奥诺雷·戈塞-伯恩海姆,Caroline,Baehr,贝莱娜·温,Vincent,Martinez,Sawsan,Abès,Anissia,Hachemi,Tina,Riad,Hassan,Gaou,Malyka,Johany,菲利普·德绍,Théo,Askolovitch
导演：哈玛·波洛克巴,埃库伊·拉比泰
简介：The story homes in on Mia, a 25-year-old Parisian who works in a nail bar on Rue des Dames. Unbeknownst to her employer and in exchange for money, she arranges access, for some of the salon’s female clients, to sought-after parties attended by high-profile footballers…
主演：唐纳德·萨瑟兰,蒂娜·奥蒙特,Cicely,Browne,卡门·斯卡尔佩特,Clara,Algranti,Daniela,Gatti
导演：费德里科·费里尼
简介：意大利导演费德里克．费里尼的中期经典作《八部半》是其成熟高峰期作品，此后开始走向糜烂而至腐败，偏于肉欲放纵和自我沉溺，像《费里尼之萨蒂尼康》（六九年）和本片，都是糜烂颓废的出色力作。本片反映了十八世纪基督道德不振后的上流腐化放纵，费里尼尽情借题发挥，展现出精英文艺在人欲横流下的腐烂情态。大情人卡萨诺华是在情场屡战屡胜的;性斗士"，不断猎艳，还参加造爱竞赛。但这大情人苦于人人只重他的x愛能力，不重视他经世济民治国的才学。而且女人们对他都;有性无爱"，当他衰老得失去性魅力之后，就只能把一个机械女人当作梦中情人，很可悲可怜。
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：Alexandre,Arquillière,Jackie,Monnier,恩里克·里贝罗,Diana,Hart,雅克·贝克
导演：让·雷诺阿,Jean,Renoir
简介：Claudie, a young French woman, inherits her uncle's property in Algeria, much to the disappointment of her scheming cousins Diane and Manuel. On the ferry she meets and falls for Pierre, an idle young man who has squandered his inheritance and is on his way to beg from Christian, his rich but rough-and-ready uncle, who owns a neighbouring farm to Claudie's. Made to work on the farm by Christian as a loan condition, Pierre is soon a changed man, and proposes to Claudie. But when his Arab friend Zoubir invites the Europeans on a hunting party, Diane and Manuel see their chance to move against their cousin.
主演：维尔日妮·埃菲拉,阿黛尔·艾克萨勒霍布洛斯,加斯帕德·尤利尔,劳尔·卡拉米,保罗·艾米,桑德拉·惠勒,尼尔斯·施内德,Natascha,Wiese
导演：茹斯汀·特里叶
简介：维尔日妮 埃菲拉([她])、阿黛尔;艾克萨勒霍布洛斯、加斯帕德 尤利尔、尼尔斯 施内德([我杀了我妈妈])、桑德拉 惠勒([托尼 ;厄德曼])、劳尔 ;卡拉米([保持站立])、保罗 ;艾米([鸟类学家])主演，贾斯汀 ;楚特([床上的维多利亚])执导的第三部长片[西比勒](Sibyl，暂译)即将在美国电影市场开始销shou，首张剧照同时释出。(Sibyl一词具有极强的宗教含义) 影片剧本由楚特撰写，编剧老搭档阿图阿拉里提供部分建议。故事围绕西比勒(埃菲拉饰)展开，她从一个小说家转变为精神分析师，并在过去十年中一直致力于精神分析。然而在再度开始写作的欲望驱使下，她决定让她的大部分病人离开。当西比勒寻求创作灵感时，年轻女人玛格特(艾克萨勒霍布洛斯饰)在一个夜晚与她联系，祈求去见西比勒，西比勒最终表示同意。然而玛格特所诉说的内容，彻底把西比勒的生活颠覆。 影片于去年夏天在法国巴黎、里昂，意大利斯特龙博利岛等地极其秘密地开始拍摄，并将于2019年第二季度正式完成。Le Pacte负责本片法国发行，mk2负责国际版权销shou。
主演：乔什·布洛林,大卫·柯南伯格,北野武,伊莎贝尔·阿佳妮,碧姬·芭铎,拉斯·冯·提尔,让娜·莫罗,威廉·达福,南尼·莫莱蒂
导演：西奥·安哲罗普洛斯,奥利维耶·阿萨亚斯,比利·奥古斯特,简·坎皮恩,尤瑟夫·夏因,大卫·柯南伯格,迈克尔·西米诺,伊桑·科恩,乔尔·科恩,让-皮埃尔·达内,吕克·达内,曼努埃尔·德·奥利维拉,雷蒙·德帕东,阿托姆·伊戈扬,阿莫斯·吉泰,亚利桑德罗·冈萨雷斯·伊纳里多,侯孝贤,阿基·考里斯马基,阿巴斯·基亚罗斯塔米,北野武,安德烈·康查洛夫斯基,克洛德·勒卢什,肯·洛奇,大卫·林奇,南尼·莫莱蒂,罗曼·波兰斯基,劳尔·鲁伊斯,沃尔特·塞勒斯,伊利亚·苏雷曼,蔡明亮,格斯·范·桑特,拉斯·冯·提尔,维姆·文德
简介：给你一个三分钟，你会拍出怎样的电影？本片由35位知名导演，为庆祝戛纳电影节六十周年而拍摄的三分钟短片组成。细心的你会发现，在此短篇集中不仅有众多知名演员的参演，更有著名导演的客串演出。这短暂的三分钟光影，不仅浓缩了精妙的生活片段，更有每位导演对电影、对人生的深刻体悟。 或温情或冷峻或真实或迷幻，人生何止五味，《每个人都有他自己的电影》如是说，你的呢？
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.