主演：帕特里克·布鲁尔,伊莎贝尔·卡雷,阿丽斯·德·朗克桑
导演：安娜·吉亚菲利
简介：Gabrielle élève seule sa fille Claire. À 17 ans celle-ci est enceinte de Simon qui refuse de se voir imposer ce bébé. Gabrielle prend les choses en main et décide de demander de l’aide au père de Simon. Elle débarque donc dans le bureau d’Ange, mais celui-ci, célibataire endurci et grand séducteur, n’a jamais assumé sa paternité et n’a aucune intention de le faire. C’est une première rencontre explosive mais Gabrielle ne manque ni de charme, ni de détermination.
主演：奥尔本·勒努瓦,斯维娃·阿维蒂,Saïdou,Camara,埃里克·坎通纳,Noé,Chabbat,蒂博·德·蒙塔朗贝尔,Lucille,Guillaume,文森特·海宁,凯文·莱恩,娜图,菲利普·雷西蒙
导演：Morgan,S.,Dalibert
简介：A steely special ops agent finds his morality put to the test when he infiltrates a crime syndicate and unexpectedly bonds with the boss's young son.
主演：马丁·劳博,Jacqueline,Dufranne,Dionys,Mascolo
导演：让·厄斯塔什
简介：这是英年早逝的法国导演让.厄斯塔什1974年导演的一部出色的青春片,本片讲述了一个青春期少年成长的故事,影片的格调清新写实,还原了上世纪同时期法国小城的生活和社会现实,同时通过对性暧昧的描写也出色地勾画出了青春期的困惑和诱惑,在主角小男孩一步步在诱惑下失去纯真走向改变的过程中也隐喻了导演的个人表达。
主演：热拉尔·德帕迪约,哈威·凯特尔,约翰尼·哈里戴,瑞瑙德,萨伊德·塔格马奥,斯特凡纳·弗雷斯,肖恩·劳伦斯,乔安妮·凯莉,理查德·波林热,阿贝·维高达
导演：布拉德·米尔曼
简介：威尼在一家餐馆门口将那辆争议很大的汽车交给了大哥扎梅蒂，扎梅蒂和手下进入餐馆，同时街头小霸王率领荷枪实弹的兄弟看到门口的汽车遂进入餐馆找车主谈判，之后的结果可想而知，双方谈判未果，像《全民公敌》最后那个时刻一样，双发剑拔弩张对射近30秒，枪战停止之后只有扎梅蒂没死，他还全身上下找枪眼。随后扎梅蒂悠闲地踱出餐馆，G先生派来的轿车开足马力向他冲来，扎梅蒂被撞得飞得老高，像跳水王子田亮一样来了个转体360度，之后重重地摔在地上，老大就这样挂了，嘴里还吐着舌头。法国6人组只剩下5人，受尽委屈的他们决议和劳伦·巴查迪做一笔交易。在一处码头，法国人将录音带交给了巴查迪，巴查迪将一箱美金交给了法国人。之后巴查迪也被G先生的人控制了，而法国人得到的也只是一箱只有十几张美元的箱子。法国人失望之际发现了手提兜里面卷了那张《花瓶里的15支向日葵》，那是凡高的名画，但向日葵却随风落入了海里，法国人互相对视了一番，接着动作整齐地迈过栏杆，跳入大海，镜头就此定格，一部法国式风格的荒诞电影以荒诞的结果作为结尾，很是宜人
主演：丹尼尔·居扬,Gilles,Chitlaphone,让·帕热斯,埃里克·阮
导演：拉契得·波查拉
简介：This movie is also called Dust of life in English and was made by Alex Bouchareb in 1994.In 1975, 3 kids decide to escape a reeducation camp in the Vietnamese equatorial forest near Cambodia where the Amerasians are imprisoned, tortured both mentally and physically. Son, the hero is sent in that camp after her mother fails to find his father to send him away to America.Search the web for the title to find more information. You can find the poster of the movie on cineposters dot com.Kind of reminds me of Papillon or the Killing Fields though maybe a notch down in terms of realization... This movie is based on facts from the after war.
主演：爱德华·罗宾逊
导演：让·鲁什
简介：本片记录了西部非洲的乡下青年到城市打工的经历。许多尼日利亚青年离开位于内陆的家乡来到沿海国家象牙海岸打工，许多人在首都阿比让的平民区落脚。本片主人公是一位仿照美国电影明星取名爱德华·罗宾逊的年轻人，他在摄影机前讲述自己及其同伴的故事。The film depicts an ordinary week in the lives of men and women from Niger who have migrated to Abidjan, Cote D'Ivoire for work. After a short introduction by Rouch, "Edward G. Robinson"-Omarou Ganda, who like the film's other subject-collaborators plays himself under the name of a Western movie star-takes over the film's narration, recreating dialogue and providing freewheeling commentary on his experiences.
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：拉斐尔·佩尔索纳,多莉亚·蒂利耶,让娜·巴利巴尔,艾曼纽·德芙,文森特·佩雷斯,安娜·阿尔瓦罗,索菲·吉耶曼,亚历山大·萨洛,玛丽·德纳尔诺,Mélodie,Adda,Florence,Ben,Sadoun,塞尔日·里亚布金,Joniece,Jamison,Jelle,De,Beule,卡琪娅·申库,Elisa,Doughty
导演：安妮·芳婷
简介：Follows the boundary-pushing Rubinstein as she selects Ravel to compose the music for her next ballet and requests something bold and sensual. Ravel finds himself incapable of writing anything, but in the process of reliving his memories, facing his old loves and failures, the composer ends up creating his greatest success ever: Boléro
主演：贝特朗·波尼洛,让娜·巴利巴尔,热拉尔丁娜·帕亚,乔安娜·普莱斯,巴贝特·施罗德,帕斯卡尔·格雷戈里,瓦莱丽·德维尔,Nicolas,Maury,阿莱克斯·德斯卡,伊希尔·勒·贝斯柯,娜塔莉·布伏,Marta,Hoskins,Valérie,Massadian,夏洛特·兰普林
导演：安东尼·巴罗德
简介：著名导演贝特朗·博内洛Bertrand Bonello是个司汤达综合症的受害者，正筹划他的下一部电影。化蛹为蝶的变态渐进过程，作为一个梦常常萦绕在他的脑海，因为几记红印出现在他的后背。经艺术史家们的引导，使他开始了陌生研究和充满激情的讨论。他试图搜索不可思议的图像，作为他电影作品的一个个元素。
主演：玛琳娜·佛伊丝,塞米·鲍亚吉拉,路易多·德·朗克桑,薇拉莉·邓泽里,拉蒂沃杰·布克维奇,珍妮·简丝汀
导演：Fabrice,Camoin
简介：Un violent orage bloque Maria et sa famille sur la route des vacances. Ils se réfugient dans une petite ville, près de la frontière espagnole, où la police recherche un homme qui vient de tuer sa femme et son amant. En pleine nuit, Maria se retrouve par hasard face au meurtrier. Croyant échapper à ses propres démons, elle décide de s’enfuir avec lui …
主演：安娜·卡里娜,萨德·里波特,安德烈·S·拉巴尔特,吉莱娜·施伦贝格尔,Gérard,Hoffman,莫妮克·美辛,保罗·帕维尔,彼德·卡索维茨,Brice,Parain,亨利·埃托,Gilles,Quéant,阿尔弗雷德·亚当,Jean,Ferrat,Jean-Paul,Savignac,拉斯洛·绍博
导演：让-吕克·戈达尔
简介：影片讲述了女主人公娜娜（安娜·卡里娜 Anna Karina饰）如何从一名普通售货员走上卖淫道路的悲情一生。娜娜厌倦了售货员的生活，想要成为一名演员，可命运却让她陷入了出卖肉体的色情深渊。她越是深入生命的深刻意义，越是怀疑生活的本来面目。命运辗转，就在她终于遇见她的爱人 时，命运又再一次跟她开了场玩笑，死在了皮条客的枪下。看似凌乱毫无关联的章节，充满哲理如呓语般的台词，为了“拯救灵魂而出卖肉体”么？影片抛掷给我们的又岂止是这一个问题。
主演：米洛·马查多·格拉纳,马修·阿马立克,萨利夫·西塞,弗朗索瓦兹·勒布伦,米沙·莱斯科特,欧嘉·米尔施泰因
导演：阿诺·戴普勒尚
简介：What does it mean, to go to the movies?Why have people been going for over one hundred years?I set out to celebrate movie theaters and their manifold magic.So I walked in the footsteps of young Paul Dédalus, as if in a filmgoer’s coming-of-age story.Memories, fiction, discoveries come together in an irrepressible torrent of pictures.
主演：热拉尔·朱尼奥,克洛维斯·科尔尼亚克,凯德·麦拉德,诺拉·阿娜泽德尔,皮埃尔·里夏尔,雅克·贝汉
导演：Christophe,Barratier
简介：导演克里斯托夫·巴拉蒂继处女作《放牛班的春天》之后再次演绎合唱团的故事， 怀旧的情绪，热情洋溢的人物，竖立起了一座法式平民电影的丰碑，甫一上映，再创票房佳绩。本片发生的背景为1935年至1937年的法国。当时正是法国“人民前线”(popular front)运动高峰时期，法国国际工会(SFIO)第一次带领工人阶级取得了国家的合法政权。在一批社会主义积极分子的领导下，当时的法国社会上上下下开始了一系列的工人权益斗争运动。劳资关系变得空前的紧张。在普遍的罢工和呼吁改革的压力下，许多工人确实得到了福利及待遇的提高。但是，在很多地方，工人的待遇不但没有提高，反而因为工厂的倒闭以及当时的经济大萧条而陷入了更加艰苦的境地。本片的主人公剧院舞台经理辟谷(杰拉尔·朱诺饰演)便是深受打击的一位。而祸不单行的是他的老婆也在这个时候背叛了他，跟着别的男人跑了，只留他和儿子相依为命。谁知，儿子因为上街拉手风琴卖艺，自己指控无抚养能力，儿子也因此被行政机关强制带走。同时，辟谷所在的剧院也被当地的官员查封，他彻底的陷入了绝望的境地。若是辟谷在这个时候选择一死了之故事也就没什么说的了，戏剧性的是他在遭受打击之后并没有选择就此沉沦，相反他重新鼓舞了斗志，并且想要自己组织一场戏剧演出以此来振奋自己的生活。于是他找来了同样已经失业的古怪的歌舞男杰克·杰克特和理想主义的革命青年埃米尔。随后他们开始自己动手修缮了破败的剧院，组织了一群失业青年来共同加入他们。并且还意外的找到了色艺俱佳的女演员杜丝。所有参加这场演出的人都没有收到任何的报酬，可是大家的热情同样十分高涨。因为这场演出，让许多人的生命中重新有了希望。
主演：奥玛·希,贝热尼丝·贝乔,弗朗索瓦·达密安,Oudesh,Rughooputh,Théo,Hellermann,Maxence,Huet,Manon,Koltès,Isabelle,Katz,Liza,Pivert
导演：米歇尔·阿扎纳维西于斯
简介：米歇尔·阿扎纳维西于斯([艺术家])新片[消失的王子](The Lost Prince，暂译)，由奥玛·希、贝热尼丝·贝乔主演。故事围绕父亲Djibi展开，他告诉7岁女儿索菲亚一个名为“童话世界”的奇幻电影制片厂。他本人扮演白马王子。五年后女儿长大，而Djibi必须要去维持在女儿人生中的英雄形象。本片拍摄周期为7月30至10月5日，将在戛纳电影市场上寻找国际买家。
主演：伊芙·弗朗西斯,雅克·卡特兰,Marcelle,Pradot,菲利普·埃里亚,Claire,Prélia,Georges,Paulais,Édith,Réal,Max,Dhartigny,Émile,Saint-Ober,Jeanne,Bérangère,米歇尔·迪朗
导演：马塞尔·莱尔比埃
简介：19世纪，描写美与丑的文学作品风靡一时。“美”之古怪亮丽，有供人欢愉的脱衣舞会所，有病势严重的私生子，有麻木不仁的上层人士，有父亲之命的婚姻，还有未遂企图的凌辱糟蹋，以及其他。“美”之感情丰富，既有美丽者如真爱，也有残酷者如恐惧与恨。被身处社会上层的爱人无情抛弃之后，可 怜的女人为了支付儿子的医药费，无奈旋舞于众人之前，卖弄色相。受迫于父亲之命，心早有所属的姑娘不得不面对即将于一位年逾古稀者结为夫妻的残酷现实。摄于1921年，法国马塞尔·莱皮埃导演，片头字幕中特别注明：这是一出“闹剧”，表达了莱皮埃对汤玛斯·英斯那种平凡的轶事式的题材的轻视，他以标新立异的形式讲述了西班牙舞女西比拉的悲剧命运。莱皮埃从法国的印象派画家和美国的格里菲斯以及瑞典的斯约斯特约姆的艺术成果中吸取营养，把特技作为重要的电影表现手段。影片中精练而完美的摄影技巧，使西班牙的户外风景和室内布景协调一致，并对剧情发展到起重要作用。影片还探讨了艺术技巧抒发激情的方法。
主演：奥黛丽·塔图,纳塔莉·贝伊,塞米·鲍亚吉拉,茱迪丝·谢拉
导演：皮埃尔·沙尔瓦多利
简介：埃米莉·当德里厄（奥黛丽·塔图 Audrey Tautou饰），一位前卫的年轻女理发师。她独居的母亲麦蒂·当德里厄（娜塔莉·贝伊 Nathalie Baye饰）患有抑郁症。为了让母亲开心，重燃对生活的信心，埃米莉使出浑身解数，居然给母亲写了一封激情洋溢的情书。女儿善意的谎言只是想让妈妈得到幸福，然而夹在母女间的男人吉恩（塞米·鲍亚吉拉 Sami Bouajila饰）却因为阴差阳错的误会而一头雾水。 皮埃尔·萨尔瓦多执导的法国喜剧电影《美丽的谎言》，由古灵精怪的奥黛丽·塔图、优美高雅的娜塔莉·贝伊与塞米·鲍亚吉拉联袂主演。
主演：吉约姆·卡内,薇儿拉·贝坦丝,安东尼·巴容,萨米尔·盖丝米,克里斯朵夫·罗西尼翁,吕菲斯,Le,Roux,Claude,Charlie,Costillas,Emmanuel,Courcol,Solal,Forte,Pierre,Gondard,Yona,Kervern,Michel,Lerousseau,Raffin,Melanie,Marie-Christine,Orry
导演：爱德华·伯根
简介：吉约姆·卡内、薇儿拉·贝坦丝([破碎之家])、安东尼·巴容([祈祷])主演，爱德华·贝尔容(Edouard Bergeon)执导[以地球的名义](Au nom de la terre，暂译)本周已在马耶讷开机。故事描绘了一个近40年的家庭传奇。1982年，皮埃尔离开美国，回到马耶讷的家中，买了该地区最美丽的农场。多年来皮埃尔和妻子克莱尔经营着农场业务。但是幸福时光下，这对夫妇还必须与债务和疲惫作斗争。
主演：Omar,Sharif,伊莎贝尔·阿佳妮,伊莎贝尔·阿佳妮,Isabelle,Adjani
导演：François,Dupeyron
简介：15岁的以色列小男孩莫塞斯（Pierre Boulanger 饰）和父亲（Pierre Boulanger 饰）住在巴黎蓝色大道一幢贫穷脏乱的公寓中。母亲（Isabelle Renauld 饰）离家出走，父亲整天沉迷于书本，还编造出一个并不存在的优秀的哥哥打击莫塞斯。本该享受童年快乐的小男孩压抑阴郁，在附近的流莺献出了自己的第一次。 莫塞斯去附近的土耳其穆斯林亚伯拉罕先生（Omar Shariff 饰）的杂货店里偷盗，被亚伯拉罕发现。和蔼的老人原谅了眼前这个小男孩，并亲切地向他传授知识，一老一少从此展开一段弥足珍贵的忘年交……
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