简介：曾是网球选手的博比（西恩•潘 Sean Penn 饰）最近霉运缠身，先是欠下赌债被债主砍去手指，继而在前往拉斯维加斯还债途中汽车竟然在一个偏僻的小镇苏必略抛锚了。然而，倒霉透顶的博比怎么也没有想到，他的恶运其实刚刚开始。　　在苏必略，博比先是被修车工敲诈，强行扣下了他的车；然后，他在商店又遭到了抢劫，最后，万分郁闷的他甚至在酒吧喝闷酒都被一个不明所以的青年纠缠，硬是说他和自己女友有染，两人甚至大打出手。就在此时，博比遇到了一位神秘美女格雷斯（詹妮弗•洛佩兹 Jennifer Lopez 饰）。当他们正在进行好事时，撞见了格雷斯的丈夫杰克。出人意料的是，杰克竟然要求博比干掉格雷斯！怪事一桩接一桩，完全摸不着头脑的博比最终何去何从？

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：以绝对遵循教条、荣誉和服从为原则的某法国驻东非殖民地志愿兵团，迎来一批新兵，其中最突出的当属有着英俊相貌和威猛身材的桑泰恩（格利哥力•格林），他同时吸引司令官布鲁诺（米修•苏宝尔）和中尉布格罗普（丹尼斯•拉凡）投来灼热渴慕的目光。　　在接触中，桑泰恩与布鲁诺渐渐表现出暧昧的同性爱意，这引起布格罗普的不快，继而生出混杂了多种情感的嫉妒，最终，他设下圈套，迫使桑泰恩离开兵团，但他自己也因此结束了志愿军生涯。

简介：费莉西泰，拥有一颗简单、神圣、本原和终极的心，如同上帝创世之心。失恋后的她在寡妇欧班太太家找了一份佣人的活，但是无论她多么忠诚勤劳，却始终不能赢得女主人的信任…… 影片根据福楼拜同名短篇小说《简单的心》改编，并获得2009年雅克·普雷韦剧本奖的最佳文学改编作品奖。女主角由法国演技女王桑德里娜·伯奈尔出演，这也是她第二次饰演女佣角色，她以其充满野性和极富张力的演技，诠释了原作，即生命的精彩和人性的高贵。

简介：鲍伯是一个赌徒，年纪不小，运气却不好。本片描写他的好友—一个高级警官，跟朋友计划抢劫一家赌场的故事，发生在夜晚的巴黎蒙马特区的暗处。原以为计划天衣无缝的鲍伯走进赌场开始赌博，却不知道那些警察早已经伺机等在一旁了。

简介：朗治（瑞奈·列费夫尔 René Lefèvre 饰）在一间印刷厂里做了一辈子的文员，撇开正式职业不谈，他还有一颗成为作家的心，常常在业余时间创作漫画和小说。一天，朗治的老板因为贪腐诈骗的罪行东窗事发选择了跑路，却在路上遭遇车祸下落不明，为了维持印刷厂的正常运作，朗治被推举成为了印刷厂的临时管事人，在朗治和其他员工们的努力经营之下，本来濒临倒闭的印刷厂不仅避免了关门大吉的命运，还有了不菲的盈利。　　一天，老板巴尔塔（朱尔·贝里 Jules Berry 饰）忽然出现在了朗治的面前，大难不死的他不仅企图侵吞朗治和工人们的所有劳动成果，甚至想要将朗治的女友据为己有。

简介：索尼娅（伊莎贝尔·阿佳妮 Isabelle Adjani 饰）在中学里担任法语教师的职位，在他人眼中，教师是传道授业解惑的高尚职业，可对于索尼娅来说，这份职业所带来的只有恐惧和折磨。扭曲的教育制度让狂妄的学生们完全不将索尼娅放在眼里，他们不仅对索尼娅的话置若罔闻，更是露骨和直接的对她进行嘲笑。面对如此屈辱，善良内向的索尼娅只能选择容忍。　　一次偶然中，两个学生的斗殴吸引了索尼娅的注意，在争斗之中，一支手枪出现在了众人的视线中。为了避免枪支伤人，索尼娅起身夺枪，却在偶然间扣动了扳机误伤了学生。在这一瞬间，索尼娅昔日所遭受的压力和屈辱全然爆发，她持枪劫持了学生，也惊动了警方。

简介：Marion（玛丽·布奈尔 饰）已经五十岁了，她与母亲同住，外表看起来她与常人无异，在雨天喂鸽子，与母亲拌嘴，但其实她患有先天性的注意力障碍，依靠便签，她的生活才能继续，为了去犹他州南部的国家公园，她做了十分多的努力，但是仅凭自己一人她无法做到。此时，三十岁的Rob走进 了她的生活，尽管二人的相遇并不十分完美，然而他们还是决定一起前往目的地，而这一路又有什么样的冒险在等待着他们，他们能够顺利到达吗？

简介：A girl leaves home to find her runaway brother, and finds several people who change her life.

简介：Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series' significance.

简介：科斯迪安（让-保罗•卢弗Jean-Paul Rouve 饰）是一名鸟类研究学者，对于鸟类学的热爱让他将毕生的精力都投入到了这个领域之中。失去了父母的白额雁无法学习迁徙的技巧，于是科斯迪安决定驾驶轻航指引幼鸟们从挪威迁徙到目的地法国。然而，在向巴黎博物馆申请经费时，科斯迪安却遭到了拒绝。　　托马斯（路尔斯•瓦兹奎兹 Louis Vazquez 饰）来到了父亲的农舍度假，刚开始，这个男孩并不理解为什么科斯迪安总是如此的关心鸟类，但随着时间的推移，托马斯也渐渐被神奇的鸟儿所吸引。一天，科斯迪安震惊的发现，托马斯私自驾驶轻航踏上了引导鸟类迁徙的旅途。

简介：In the early 1920s, Georges Laffont (Romain Duris), traumatised by the horrific trench warfar, decides to leave his life behind and travel to West Africa into the vast territories of Upper Volta in the company of Diofo, artist and also survivor of the Great War. From village to village, Georges uses Diofo's talents as a griot to recruit the villagers as labour for plantations in Ghana.　　But his adventure leads him to a dead-end, and he comes back to Paris where is brother Marcel (Grégory Gadebois), a war invalid, lives with their mother's. After the war in Europe, life went out without him.　　Georges will desperately try to find his place, with the help of Hélène (Céline Salette), a sign language teacher with whom he will have a tumultuous relationship, and his family, that he selfishly left behind.　　He will finally attempt to heal their wounds, and his.

简介：雷达（尼古拉斯·卡萨雷 Nicolas Cazalé 饰）的父亲（Mohamed Majd 饰）是一位非常虔诚的穆斯林，当他觉得自己大限将到命不久矣之时，决定完成身为一名穆斯林的毕生梦想——前往圣地麦加朝圣。本来父亲的打算是让雷达的哥哥开车载他去麦加，可不巧的是，他的大儿子因为一场交通意外而被吊销了驾驶执照无法上路行驶。无奈之下，父亲只得找到小儿子雷达，命令他成为司机。　　只有20岁的雷达即将面临学校的会考，与此同时，他还有一个正在热恋的如花似玉的女朋友。面对父亲强势的命令，雷达虽然心里百般的不情愿，却也只能顺从。一路上，父子两人之间爆发了无数次战争。

简介：这样一座小镇，非常的小。小到一个望远镜就能看到所有事情；小到邮差可以悠闲的翻看每一封信，然后再把他们封好；小到人们不需要打招呼，因为他们总是碰到。　　镇上有一个男人，每天早上做同样的事，换鞋，出门，工作。表面上，他的工作是工地里的焊接工，实际上，他真正的工作是做画家梦。他用廉价水彩颜料做画，在天空中大量留白。他和镇子里的同龄人一样，感到单调，琐碎，平淡。他又有点像年轻人，为了理想蠢蠢欲动。　　男人有一位妻子，肥胖的身体证明了她是一位尽职的家庭主妇。男人赚钱养家，妻子把赚来的钱变成食物养活他。他们懂得墨守契约的道理，所以很少说话。　　男人的父亲是一位落寞贵族，他的前半生也许并不传奇，但他还是把优雅和感性留给了下一代。　　小镇的爱情是平淡的，之所以称为平淡，是因为这样的爱情里面没有贫富距离，也没有肤色差异，好像所有爱情之外的事情都和爱情无关。只是寥寥几笔，直到结婚那一刻，还是没有让人感到坟墓的存在。　　酒馆里的厕所管理员原来是男扮女装。他不喜欢的不光是女人，而是人。所以他看到动物很开心。但他决非是真正意义上的异服癖，因为很难想象他会喜欢自己穿上女装后臃肿老迈的样子。　　小镇邮递员喜欢一封封的把信拆开，略略一阅，完后再放回去封好。也许寄信的人压根就没封，也许世界上的邮差都惦记着信里的内容。　　星期一的早上，男人离家出走。　　于是，他到了威尼斯。威尼斯的自由几乎可以包容一切，条件是你必须也是自由的。人们做着想做的任何的事，甚至是做一个小偷，也一样被允许。装腔作势与这里格格不入，他们太真实了，真实得藏不住丑和美，只要你有一丝恻隐之心都会暴露无遗。　　偶然遇到他，火车上的陌生人。自由的共性让男人辞别了父亲的那位虚伪得可笑的老友，与第二次撞面就一见如故的他成为了朋友。他登上了朋友的小舟，带着不期而遇的好奇，离开了生活中刻意的无奈。　　他还有过一次邂逅，之后才发现，艳遇注定不是此次旅行的主题。更多的邂逅都不会有下文，只是短暂的擦肩而已。即使再重复一次，重复同样的人，结果也是一样的。　　他寄了一张明信片给妻子，正面画上威尼斯风景。这次邮差不用拆就能看到他对给妻子说的话，可妻子连看都不看就把他撕得粉碎。邮差猜到会这样，有时候男人喜欢的浪漫代表了女人痛恨的离别。　　于是，男人回来了。　　有时候，习惯让人产生想失去的冲动，转一圈之后回到原处，看看还是一样，男人，女人，老人，孩子，牧师。男人像往常一样换鞋，出门，工作。只是出门前多了一个妻子的吻。于是，他知道了，有些东西不用跑太远也能得到。

简介：玛利亚（朱丽叶·比诺什 Juliette Binoche 饰）是一名十分出色的演员，凭借“西格德”这一角色一举成名。在剧中，西格德野心勃勃，全身上下充满了致命的吸引力，她的行为直接导致了名为海琳娜的角色的自杀，是一出惊为天人的悲剧。　　如今，玛利亚已经四十多岁了，命运让她再度站在了舞台之上，只是，这一次，她不再是性感致命的西格德，而变成了悲剧的化身海琳娜。饰演西格德的是一位名叫艾莉丝（科洛·格蕾斯·莫瑞兹 Chloe Grace Moretz 饰）的新生代演员，她的个性狂放不羁，常常惹是生非，饱受非议。在入戏的过程中，玛利亚在艾莉丝的身上看到了曾经的自己，引发了她深深的思考。

简介：该片讲述在斯里兰卡，内战已经快要结束，无数难民等待着离开这片被战火摧残的土地。为了更容易申请政治庇护，年轻的女人雅丽妮（Kalieaswari Sriniv饰）、曾经效力泰米尔猛虎组织的战士迪潘（杰苏萨桑·安东尼萨桑饰）和9岁的失去父母的小女孩伊莱娅（Claudine Vinasitha饰）冒充一家人，来到法国巴黎近郊开始了新生活。迪潘在这片贫民聚集的郊区找到了一个公寓管理员的工作，不会法语的雅丽妮也在一户人家做家政，“女儿”伊莱娅则进了附近的学校。生活看起来在往好的方向发展，但充斥着暴力、毒品、犯罪的巴黎郊区，注定不会是他们平静生活的净土，当命运不可逆抗，迪潘只好用自己最熟悉的手段，守护这个由三个陌生人组成的相依为命的“家庭”。

简介：一次偶然中，保罗（Jérôme Robart 饰）结识了名叫弗雷德里克（路易斯·加瑞尔 Louis Garrel 饰）的画家，两人很快就成为了朋友。在弗雷德里克的家里，保罗遇见了女演员安格丽（莫妮卡·贝鲁奇 Monica Bellucci 饰），安格丽的美艳和奔放瞬间吸引了保罗的注意，保罗很快就坠入了爱河不能自拔。　　为了追随安格丽，保罗跟随她来到了意大利，在这里，保罗成为了安格丽的同行，但是，初来乍到的他只能做群众演员。在工作中，保罗遇见了他的同行伊莉莎白（席琳·萨莱特 Céline Sallette 饰），两人一见如故。弗雷德里克邀请保罗到罗马游玩，保罗带上了伊莉莎白，一段复杂而换乱的感情关系就此展开。

简介：结婚超过四十年，曾经的畅销作家维多（丹尼尔奥图 饰）渐渐失去灵感，和老婆的婚姻也亮起红灯。对生活丧失热忱的维多，在儿子与朋友的帮助下，决定接受「回忆美好公司」提供的神秘体验，让电影道具搭建的拟真场景和专业演员的演技帮衬，带他回到当年在酒吧遇见挚爱的那一天，重温天雷勾动地火的美好恋情，维多能因此让老婆重新爱上他吗？

简介：影片分成四个小片段，讲述了持有不同价值观和生活方式的两个女孩的友情。单纯、热情的蕾妮特（若埃勒·米凯尔 Joëlle Miquel 饰）是一个乡下女孩，慵懒、阴暗的米拉贝（杰西卡·福德 Jessica Forde 饰）则来自巴黎城里。第一段故事名为“蓝色时光”，讲述了她 们的相遇。米拉贝骑车去乡下游玩，结果自行车坏了，乡下姑娘蕾妮特帮她修好了自行车。两个女孩互相产生好感，交谈甚欢，决定一起去巴黎上大学。第二段故事发生在一个咖啡馆中。蕾妮特被侍应误认为女骗子，对她处处刁难，米拉贝到来之后帮她解围，两人对待此事有着截然不同的解决办法。第三段故事中，她们对社会边缘人乞丐、小偷、骗子进行了不同观点的讨论。最后一段故事中，她们打了一个赌：蕾妮特能否坚持一天不说话。结果，蕾妮特假装成哑巴少女，米拉贝成功地将她的画卖给一个艺术品经销商。

简介：1974 年 1 月，因为意外怀孕，身为两个孩子的母亲的工人安妮遇到了解放堕胎和避孕运动 (MLAC)，该运动在所有人眼中都是非法的堕胎。安妮的战斗将导致她遇到其他旅行者或对手......

简介：故事发生在美国底特律，不断升高的犯罪率和持续扩大的犯罪势力让警方苦不堪言，为了控制这些“不稳定的因素”，警方划出了“红砖特区”，用以隔离罪犯和平民。在特区之中，以毒枭特里梅因（罗伯特·菲茨杰拉德·迪格斯 RZA 饰）为首的犯罪集团掌控着大部分的资源和权利，构筑了一种岌岌可危的微妙平衡。　　一场意外让利诺（大卫·贝尔 David Belle 饰）成为了特里梅因的眼中钉，为了引出利诺，特里梅因绑架了他的女友罗拉（卡塔利娜·丹尼斯 Catalina Denis 饰），与此同时，野心勃勃的探员达米安（保罗·沃克 Paul Walker 饰）亦希望能够将作恶多端的特里梅因捉拿归案，个性迥异但境遇相同的利诺和达米安走到了一起，决定联手。

简介：路易丝，一位老妇人，在假期最后一班火车离开车站后，发现自己被困在海边度假胜地。但不管她怎么想，无畏的路易丝还是决定留下来。最坏的情况也在等着她恶劣的天气，大雨，涨潮。在这种情况下，这个新的罗宾逊会实现她的目标并在愤怒的元素中生存吗

简介：航天工程师吉姆在进行一项秘密计划，他要乘坐自己全手工打造的迷你火箭飞入太空并出舱行走，但一个个难题接踵而至，他的梦想还能实现吗？本片在科幻题材中另辟蹊径，摈弃了太空探索的商业化宏大叙事，用一个“草台班子”的屡败屡战追溯科幻故事的初心，为一段好莱坞式的追梦之旅披上了现实主义的外衣。法国演员尼古拉斯·吉劳德自编自导自演，谱写了一首献给普通人的太空诗篇。入围2022年开罗国际电影节主竞赛单元。

简介：25岁的玛歌正试图完成硕士学位，并准备结束一段工作与爱情。在某次派对上，她遇见45岁在学校教史地的玛歌，她们不只撞名，人生经历竟然也都一模一样。当年轻的自己与中年的自己相遇，相同灵魂却不同年纪的两人，将会如何为各自走出更好的未来？