简介：在很久以前，阿曼卡纳大陆的上空出现了一只可怕的恶龙，原本祥和安宁的大陆骤然变的紧张起来，就在这时一位勇敢的年轻人挺身而出，经过一番血战终于将恶龙打败。恶龙死后，留下了黑龙蛋与白龙蛋，龙蛋拥有无尽的力量，也成为了引发贪婪和血腥战争的源泉。拥有黑龙蛋的茱莉斯带领波卡玛尔大军进犯邦塔城，白龙蛋的守护者魔法师贾什挺身而出，与茱莉斯大战69日并神奇的与之坠入爱河。然而婚礼当日，茱莉斯违背了誓言，释放黑龙蛋力量企图毁灭邦塔，贾什不得不以白龙蛋与其相撞，牺牲自己挽救了全城人的性命。

简介：A retelling of the Greek myth of Phaedra. In modern Greece, Alexis's father, an extremely wealthy shipping magnate, marries the younger, fiery Phaedra. When Alexis meets his stepmother, sparks fly and the two begin an affair. What will the Fates bring this family Alexis's roadster and the music of Bach figure in the conclusion.

简介：The tragic love story between Guido, the owner of a marble quarry and Luisa, the humble daughter of one of his employees, ends up in her giving birth to a baby boy. Giulio's mother is against them at first she takes her son abroad with an excuse and then has her grandson kidnapped making Luisa think the boy died in a fire.

简介：

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 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.

简介：

西奥在和前女友分手后遇到了玛农并相爱，斯坦为了挽救自己即将结束的婚姻而重新追求自己的妻子卢娜并拯救了他们的婚姻，朱莉解开与自己丈夫的误会重修于好。每对情侣或夫妻对于爱情的呈现形式都不一样，但都逃不出真心换真心，即便会出现各种误会，各种吵架冷战还有维护面子，但只要双方之间存在真爱，那么就可以打败爱情路上的坎坷。

简介：

在那部赢得1984年恺撒奖最佳喜剧片的警察冒险故事第一集完成20年后，我们的英雄又回来了。尽管这些年来，他们并没有改变多少，但是，时代不同了，生活习惯了发生了变化，现在，又多了一个充满罪行的街区。弗朗索瓦现在摇身一变，成了破案组组长，而热内一贫如洗，一边工作，一边在巴士底港口参与划船竞赛。两个男人现在各不相同，但是，命运又把他们连到了一块。
　　热内想拉巴士底中国区一个餐馆陈老板入伙做生意。然而，当陈交给他一个装满了一百万欧元的塑胶包时。他却发现自己原来卷入了一个假钞制作集团。热内尽力逃脱了水陆突击队的搜索，但是，包却弄丢了。
　　一个外科医生，帮助热内逃脱了形形色色的人的追逐。他将被宣布失踪，永远消失。莫兹尼，在监狱过了20年艰苦日子后，成了热内的替死鬼。热内现在成了莫兹尼。但是， 死人经常会有个过去，他会冷不丁的冒出来。莫兹尼的过去叫做玛丽，是个20多岁的可爱的小鬼。她开始和这个她以为永远见不到面的父亲在一起了。当然，她误解了，但是，她打算竭尽全力帮助他，即使那些行动都危险无比。
　　与此同时，弗郎索瓦整天被一个实习警官朱丽纠缠左右。他又惹人讨厌，又没有经验。但是现在，到了他该做出决定的时候了。到底他会站在哪边？他会恢复记忆，帮助过去的同谋逃脱法律的制裁还是站在正义的一方呢？

简介：

1962年，原本平静的法国西南小镇受到了阿尔及利亚革命风暴的影响。一所寄宿中学里，羞涩的男孩弗朗索瓦（盖尔·莫雷尔 Ga?l Morel 饰 ）与女孩玛依（艾洛迪·布歇 élodie Bouchez 饰）是一对精神恋人。弗朗索瓦对来自意大利的英俊少年赛杰（斯戴芬·里多 Stéphane Rideau 饰）产生了强烈的情感，并诱惑他与自己发生了关系。而赛杰却表示自己爱上了玛依，但玛依因喜欢弗朗索瓦而拒绝了他。阿尔及利亚战争爆发了，赛杰的哥哥皮埃尔面临上前线的困境，玛依的母亲本来可以帮助皮埃尔逃脱兵役，但她拒绝给予帮助，导致皮埃尔战死在阿尔及利亚。被迫离开阿尔及利亚的恩利（弗雷德里克·戈尼 Frédéric Gorny 饰）来到了寄宿中学，他偏激和强烈的政治观点与大伙格格不入，他强迫弗朗索瓦直面自己的性取向而招来赛杰的憎恨。恩利得知阿尔及利亚革命成功，他...

简介：

Deux vampires font du stop sur les routes de France. Leur objectif: Marinaleda, une petite ville d’Andalousie. Suite à un quiproquo, ils rencontrent Lise-Marine, une jeune femme qui leur propose de les héberger pour la nuit. Elle découvre qu’ils sont des vampires et ils passent la soirée à discuter, autour d’une bonne bouteille de vin.

简介：

他深信两人之间的爱情能够安抚她的躁动与攻击，在她消失那天伴随着瓦解的是自己的世界，此时她的双胞胎妹妹却出现，欲望的狂乱是否能领着他重回秩序？

简介：

Director 　　Samuel Collardey 　　Screenwriter 　　Samuel Collardey 　　 　　Catherine Paillé 　　Producer 　　Grégoire Debailly 　　Principal Cast 　　Anders Hvidegaard 　　 　　Asser Boassen 　　 　　Julius B. Nielsen 　　 　　Tobias Ignatiussen 　　 　　Thomasine Jonathansen 　　 　　Gert Jonathansen 　　SECTION World Doc 　　COUNTRY France 　　RUN TIME 95 min 　　LANGUAGE Danish/Inuit 　　SUBTITLES Yes with English subtitles 　　COMPANY KINOLOGY 　　EMAIL gmelin@kinology.eu 　　P...

简介：

伊芙曾是世界上最著名的玫瑰培育家之一。可现如今，她的公司濒临破产。最重要的是，她的秘书维拉雇用了三位完全没有园艺技能的流浪者。尽管他们没有共同点，但他们提出了最疯狂的计划，而这可能永远改变他们的生活......

简介：

对于一个马赛孩子来说，欧冠奖杯代表着整个城市的荣誉，有什么比弄丢了奖杯更糟的事吗？那就去巴黎想办法夺回奖杯！萨米要潜伏进敌人的领地，并接近丽莎，一位典型的巴黎女孩。她与他截然不同，富有魅力，而且是巴黎圣日耳曼球迷，远不是他平时能接触到的女孩。萨米会拜倒在光之城的魅力之下吗？

简介：

内华达山脉，在美国西部，一辆运送动物的车在路上，带着一名囚犯。他们冒险进入文明社会，是一头黑熊。一个特殊的狗品种会告诉它熊与人没有任何关系。它们是卡累利阿熊犬。它们过去是用来猎捕熊的，现在他们帮助拯救熊的生命。在内华达州，熊被释放而不是被射杀。这些黑熊必须从狗身上吸取重大教训。内华达州唯一的熊生物学家卡尔拉基住在这个州的高地，他的狗帮他驱赶熊。

简介：

本片是由法国MK2电影公司2009年出品的电脑动画作品，请区别梦工厂在2011年出品的《穿靴子的猫（Puss in Boots）》。 　　故事叙述因父亲逝世而继承父业的磨坊小主人小皮耶（PetitPierre），也同时继承了一只具有魔力，会说人话，又会唱歌、跳舞逗人开心的可爱长靴猫，而它一切魔力的来源似乎来自于它的一双美丽长靴…。由于主人小皮耶爱上了美丽的玛侬公主（PrincessManon），因此长靴猫的任务就是要协助主人克服重重困难，摆脱恶毒阴险的国王侍卫与怪物的纠缠，一起赢得公主芳心……而他们究竟会不会成功呢？

简介：托马斯是位年逾花甲的医生，没有宗教信仰。他一直怀疑自己身患重病。于是，他开始思考生与死的意义。答案——或者说迹象——出其不意地始于医院监护室……影片题目灵感来源于华沙的城市墙壁涂鸦。生命是悲剧性的矛盾体，本身就是通往死亡的旅程。　　赞努西作品《爱在山的那一边》同一个故事的另一个版本，剧情的重心转到了意外发现自己罹患绝症的老医生身上。透过主角的挣扎，这部探讨生命、死亡、爱与救赎的「临终电影」，沈稳有力地道出赞努西对哲学与伦理学的省思，参与过不少赞努西电影的老牌演员Zbigniew Zapasiewicz表现可圈可点。　　《爱在山的那一边》年轻的男主角，挣扎于应该改作服侍上帝的修士，还是回到医学院继续未完成的学业，他千方百计地寻找答案，甚至以危险的方式试炼自己，结果不但让相依为命的哥哥担忧，也连带影响了他和女友的感情。他向一个偶然认识的老医生提出他的疑惑，没料到这位步入生命终结的老人，在最后一刻意外帮助了男主角从自己强加的道德沮丧中挣脱出来。

简介：

与外界和本国最近的经济起飞相隔绝，安哥拉南部的部落至今仍保持着另一个时代的民俗和生活方式。很少人能够接近马卡瓦那部落和木卡巴部落，这些被遗忘的种群上一次被旅游类书籍提及还要追溯到上世纪30年代。

简介：

卡马尔格，法国——内吉玛正在努力训练，以赢得当地的斗牛比赛。然而，在一次庆祝活动后，她被牛袭击，开始注意到一些令人不安的变化。与此同时，一头失控的公牛在社区中横行，导致年轻男子接连丧命，令居民们感到恐慌。

简介：

亿万富翁花花公子特里建造了一艘宇宙飞船，这样他就可以和他的女朋友费玛一起看到银河系。随之而来的是一个被隔开的外星人，他需要找到回他的星球。三人组带来了小轨道的太空狗，以协助搜索。在他们梦幻般的旅程中，他们与一只幽灵太空鸟、想要它们吃午饭的芦笋怪兽（带有布朗克斯口音）和一个机器星球上的太空机器人赛跑。

简介：

　　未来巴黎，阶层鸿沟割裂都市。超脑Alma执掌秩序，其创造者暴毙后，警探萨利亚联手泽姆揭开颠覆割裂世界的惊天谜团。

简介：

　　在巴黎第19区的一个工人街区，19岁的莎伊和杰内巴是从小一起长大的好姐妹。一个被令人窒息的家庭所困扰，另一个则深陷孤独的泥沼。某个夏天，她们远离成长的高楼阴影，成为夏令营的辅导员，负责照看一群6到10岁的孩子。站在成年的门槛上，她们必须做出选择，在成长中重新定义彼此的友谊。

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……

简介：

本片改编自威尔士作家比尔·詹姆斯的同名小说，两个特立独行各有怪癖的女调查员来到一法国小镇，调查一起阿尔及利亚线人的谋杀案，进而引发一系列连锁反应。一个凶神恶煞到处出击，另一个兴高采烈强力围观，真是完美无缺。看似荒唐可笑的闹剧折射出当下法国的诸多社会问题。曾获第66届戛纳电影节导演双周法国作家和作曲家协会奖特别提及。