内容简介
暂无简介，敬请期待
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◎5.9▶北漂明星梦之血泪史
影片讲述了几个怀揣明星梦的年轻人只身来到北京，开始了她们有血有泪的梦想旅程！剧中的几位主人公只是现实社会中那些为了梦想而来到北京闯荡漂泊的无数人潮中的小小缩影，她们在这样一座陌生的城市里举目无亲，无依无靠，历经了种种艰辛和屈辱！有的人取得了成功！而有的人却要接受失败！有人虽经世事，却仍未改变初衷！有人历尽沧桑却丢了真实的自己！扭曲了心灵！一开始她们每个人对梦想都很笃定！以为凭借实力和执着付出就一定能成功！然而现实是残酷的！代价是惨痛的！教训是深刻的！而正是这些痛苦的经历才使得她们冷静下来去认真的思考梦想与现实的距离！重新的认识自己！重新的定位梦想！重新的找回自己！ “北京”是一座梦的城市，它记录了很多人的欢笑！也埋葬了太多人的眼泪！不管这里曾上演过多少悲欢离合的故事！它都留下了我们对青春不悔的祭奠和难忘的回忆！ “北漂”是北漂人的情怀 “明星梦”是很多人的向往 “血和泪”是太多人的经历 ！
◎9.8▶报仇雪恨
尼古拉斯·凯奇加盟古桑([漂亮男孩])执导的动作惊悚片[报仇雪恨](A Score To Settle，暂译)。克里斯汀·斯威格([骄傲的玛丽])等编剧。弗兰克(凯奇饰)身患绝症并无辜入狱，经历前所未有的牢狱灾祸，出狱的他将向诬陷之人复仇。Highland Film Group将在下个月举行的美国电影市场寻找买家。
◎9.8▶双鱼陨石
私营小老板王唯正在为养生馆的经营焦头烂额时，二十年前阴差阳错加入科考队而失踪多年的父亲王得志突然出现在面前。 时隔二十年，父亲竟然容貌未老，记忆错乱，仿佛从另一个时空而来。父亲向王唯讲起当年科考队的故事：一行人驾车进入荒漠进行科学勘察，准备返程时，发现了一艘本该出现在地球另一端的潜水艇。更令人意想不到的是，潜水艇中有一枚来自外星的“双鱼陨石”，任何人一旦触碰将开启平行时空，带来另一个时空的自己，为了活命，只得展开了一场厮杀……
◎4.6▶瓦尔蒙
本片内容与《危险关系》讲述的是同样的故事，只因推出公映较晚，风头都被《危》片抢去。其实本片导演米洛斯．福曼功力不俗，科林．弗思、安妮特．本宁和梅格．蒂莉的三角情欲关系也演出称职，加上实景拍摄的宏伟宫殿气派，使这部英、法合作拍摄的古装宫廷片仍具相当高的观赏价值。剧情背景是十八世纪的法国贵族阶层，蒙图夫人因妒忌自己的情人葛寇即将与表亲西莉亚结婚，乃千方百计设法让花名在外的伟康夺去西莉亚的童贞。其后，伟康在决斗中被杀，而西莉亚则证实已怀了他的孩子。
◎5.7▶我是凯撒，十岁半，一百三十九公分
剧情简介暂缺，敬请期待
◎3▶女收藏家
艺术品收藏家艾德琳（帕特里克·波查 Patrick Bauchau 饰）来到朋友丹尼尔（Daniel Pommereulle 饰）的海边别墅度假，在这里，他遇见了漂亮的女孩海蒂（哈蒂·波丽托弗 Haydée Politoff 饰）。丹尼尔告诉艾德琳，海蒂是个生活作风颇为开放的女孩，有许多个风格迥异的男友，艾德琳和朋友在背后戏称她为“收集男人的女人”。艾德琳崇尚健康、自然、克制的生活方式，这样的他自然瞧不起海蒂的放浪形骸，但同时，他发现自己又总是不经意的注意着海蒂，这个女孩的一举一动能够轻易的牵动他的情绪，并且，海蒂似乎对自己也心怀好感。没想到，海蒂选择的居然是自己的好友丹尼尔，这让艾德琳心里很不是滋味，他离开别墅回归到自己的生活，却仍然和海蒂保持着藕断丝连的关系。在法国这个热情浪漫的城市里，一对男女对待感情兜兜转转遮遮掩掩，艾德琳是否会成为海蒂的下一个“收藏品”呢？
◎9.6▶娱人日记
En route to meet his estranged daughter and attempting to revive his dwindling career, a broken, aging comedian plays a string of dead-end shows in the Mojave desert.
◎5.9▶永不逃避
本剧通过男主角王晓帅患有阅读障碍的成长过程展开，上学期间经历了一次又一次挫折，在应试教育的体制下，王晓帅不断的突破自己，提升自己的学习能力，得到了家人和朋友的认可。同时也反映了在当今社会仍然有一部分人群患有阅读障碍，没有得到足够的重视或者误解，在此同时，本剧对哥哥王晓冉和弟弟王晓帅之间的爱与情，割与舍之间，直接的对这种先天病（阅读障碍）的认知与了解，充分说明它是可以完全治愈的。剧中哥哥王晓冉遇到挫折就逃避，遇到麻烦就不做，和弟弟王晓帅形成鲜明的对比，而弟弟王晓帅的成功，无疑不点醒那些遇到困难总想逃避，总想着走捷径就能成功，不劳而获的人。
◎8.8▶剧场
永田从高中开始和朋友建立了一个剧团，他兼任编剧和导演，但剧作由于太过前卫收到了很多差评，剧团面临着即将解散的状态。直到一天，永田在路上向穿着同样鞋子的沙希搭话。梦想成为演员的沙希和永田就这么谈起了恋爱。身无分文的永田搬进了沙希的家里，两人开始了同居生活。沙希无条件地支持着永田追逐梦想，永田也渐渐重新拾起对戏剧的热爱。
◎7.3▶喜临门
中国第一部反应农村循环经济的电影。 《喜临门》讲述了东北农村三个家庭之间的故事。当铺屯的曹老倔家养鹿，刘兴旺家种菜，孙巧巧家开旅馆。但曹老倔家的鹿经常踩了刘家的菜，又到孙家旅馆跟前随地“大小便”，导致三家产生矛盾。偶然路过当铺屯的“海归”农业博士罗晓飞阴错阳差被卷进矛盾当中，最终他用科学知识引导大家发展绿色循环经济，让彼此的事业互相支撑，一块发家致富。 以铁岭某村的新变化为切入点，展示经过改革开放30年后，东北社会主义新农村的科技兴农、环保兴农的美好、繁荣景象。
◎9▶四郎探母
北宋时，辽邦设“双龙会”，邀宋太宗议和。杨家将护驾遇伏兵败。四郎被擒，与铁镜公主成婚。十五年后，辽邦摆天门阵，佘太君押粮御敌；四郎思母心切，公主为其盗令出关。杨家母子终得相聚。四郎返辽，萧后欲斩四郎，公主求免。后世传为佳话。
◎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.