内容简介
A straight-laced young woman, in fierce denial of being diagnosed with terminal melanoma, finds herself carried away on an impulsive adventure by a queer stranger.
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◎8.3▶马里兰庄园
文森特（马提亚斯·修奈尔饰）从战场返回家乡，被一个富有的商人雇做私人保镖，负责在他出差的时候保护他的妻子和孩子。文森特很快发现，表面平静的马里兰却也隐藏着危险。
◎5.4▶商界
影片主要讲述深圳的两家手机运营商因为世仇而引出的一段生死恩怨。這其中又穿插错综复杂的爱情与友情，还有国际投资机构的介入等。在生死一线之际，中国的民族企业到底该何去何从？影片不仅营造了引人入胜的情节，还揭露了民族企业发展程中存在的许多疮疤，令人深思。
◎3.4▶三大队电影版
刑侦大队队长程兵（张译 饰）带领的三大队在办理一起恶性案件的过程中导致嫌犯之一意外死亡，被判入狱。出狱后依然坚持以普通人身份追踪在逃嫌犯。 影片根据真实事件改编，原载于“网易人间工作室”作者深蓝的《请转告局长，三大队任务完成了》。
◎3.4▶关于在短时间内的某几个人的经过
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.
◎4.9▶搏击俱乐部
杰克（爱德华•诺顿 饰）是一个大汽车公司的职员，患有严重的失眠症，对周围的一切充满危机和憎恨。 一个偶然的机会，杰克遇上了卖肥皂的商人泰勒（布拉德•皮特），一个浑身充满叛逆、残酷和暴烈的痞子英雄，并因为自己公寓失火而住进了泰勒破旧不堪的家中。两人因缘际会地成为了好朋友，并创立了“搏击俱乐部”：一个让人们不戴护具而徒手搏击，宗旨在于发泄情绪的地下组织。 俱乐部吸引了越来越多的人，逐渐发展成为一个全国性的地下组织，而泰勒也以自己个人的魅力，吸引着那些盲目的信徒。俱乐部的成员们到处滋事打架、大肆破坏，泰勒本人的行为也越来越疯狂。 杰克对于“搏击俱乐部”的现况及泰勒的行为越来越无法忍受，和泰勒发生争执，泰勒离开了他。然而，杰克发现，他走到何处都无法摆脱泰勒的影子，他开始思考：我到底是谁？
◎10▶自由联盟
A woman disguises herself as her dead brother, Henry, in order to survive in the Confederate ranks during the Civil War. He marries a widow to rescue her from an arranged marriage. They keep each others secrets and find true love.
◎5.4▶卡壳
唐可大学毕业，因对父亲过度控制自己的人生而苦闷。无意间他看到一张青蛙卡壳照片，由此被激励，暗下决心改变。几经周折，唐可成了一名快递员，结识了一群同事。最终他告别长期的生活枷锁，开启了一段新的人生旅程。
◎9.6▶凶暴的男人
作风粗暴的警官我妻谅介（北野武 饰）在警匪两界颇具名望，也因此结下不少仇家。在某次追查毒品贩子遇害事件时，顺藤摸瓜查到青年实业家仁藤（岸部一德 饰）为幕后指使。同时发现，其警局好友岩城（平泉城 饰）亦在毒品犯罪中占据重要位置。然调查才刚展开，岩城即被仁藤麾下杀手（白龙 饰）杀害，并伪装成自杀现场。 杀手清弘为诱我妻上钩，绑架了我妻的智障妹妹（川上麻衣子 饰）加以轮暴，并使其沉溺毒品无法自拔。我妻辞去警局职务，持枪向仁藤和清弘展开报复…… 本片为日本喜剧明星北野武的导演处女作。
◎5.2▶爱是一把枪
出狱后的番薯（李鸿其 饰），不顾身边人的反对，依然在海边满足地做着不挣钱的小买卖。那个他从未见过的“老大”，一心只想求他替自己还债的母亲，和好兄弟帽子的出现，又将他拉回到过去的漩涡里。接踵而至的他们，就像一只无形的手，再度控制起他的当下和未来。只有七号同学的出现，才能稍稍抚平他的愁绪 。寂静灰郁的海边，番薯终于见到了那个“老大”。几声枪响，他试图毁灭这一切，沉入海底，逃向彼岸的龟山岛……
◎9.5▶爱情维修站
一张中奖彩票，打乱了在婚姻登记处工作的葛大伟（郭涛 饰）和陈小玲（胡静 饰）原本平淡无味的夫妻生活。在小姨子的鼓动下，他们找来几位朋友，开办了一家旨在帮助处于婚姻危机中的男女，解决他们的婚姻危机的爱情维修站。在葛大伟与同事们的共同努力下，他们挽救了一段又一段的婚姻，其间发生了许多啼笑皆非的故事。然而由于资产支配不当，他们的收入并没有随着事业的发展成正比增长。几单生意不仅没有赚到钱，而且把自己的全部积蓄都赔了进去。此时，长期存在于葛大伟和陈小玲之间的矛盾激化，陈小玲最终选择了离家出走。夫妻关系和事业同时走到绝境，葛大伟将如何走出双重困境…… 本片集结英达、蔡少芬、张晋、苑琼丹等众多明星加盟，惊喜不断，笑声连连。
◎3▶明明不是我！
影片改编自浅仓秋成创作的同名小说，讲述了一个在社交媒体上，毫无根据的信息被视为“真相”，并逐渐演变成重大事件的现代冤案恐怖故事。阿部宽饰演的主角是大型住宅建材公司的营业部长山县泰介，有一天突然在社交媒体上被指认为“杀人事件的凶手”，个人信息被曝光。虽然完全无辜，却被社会追捕、陷入“网络风暴”之中，不得不逃亡。
◎9.8▶美国之星
An assassin on a final assignment in Fuerteventura, to kill a man he has never met. When his target is delayed, he finds himself drawn to the island, people and a ghostly shipwreck.