简介：阿德里安（Grégoire Leprince-Ringuet 饰）是一个学习钢琴已有15年之久的天才钢琴家，可是在梦寐以求的伯恩斯坦钢琴大赛上他功败垂成，人生跌落谷底。经过一段时间调整，阿德里安重新振作，成为了一名盲人钢琴调音师。事实上他只是带上了隐形眼镜，这会让别人认为他听觉方面更加敏锐，并由此得到更多的同情和消费，甚至还会窥视到别人的生活与隐私，他兀自沉浸在这种虽处闹市又仿佛置身世外的超然之中。某天，他来到一户人家工作，殊不知这里刚刚发生一起凶案……　　本片荣获2011年卢纹（Leuven）国际电影节最佳短片奖、2012年法国恺撒奖最佳短片奖。

简介：réalisation Judith Du Pasquier　　un film de Sylvie Quesemand Zucca et Judith Du Pasquier　　production Abacaris Films　　coproduction ARTE France　　avec la participation de LCP Assemblée nationale　　soutien Fondation France, CNC, DICOM, Paroles et Cultures, PROCIREP et ANGOA　　diffusion ARTE France　　L’anorexie reste une énigme pour les familles, pour les médecins, pour les jeunes filles elles-mêmes. Pourquoi donc s’imposent-elles ces privations extrêmes En France et en Europe, les récits éclairants de femmes guéries et les réflexions de soignants très impliqués abordent l’univers complexe des anorexies contemporaines et explorent les nouvelles manières de soigner.　　Sélection Prix Média d'Enfance Majuscule 2017

简介：本片描述了由让．雷诺和克里斯蒂昂．克拉维埃饰演的戈德弗鲁瓦骑士和他的侍从拉弗里普伊两人因巫师的失误由公元1122年被抛送到现代。他们被电话、汽车、洗澡间等等现代化的设施弄得惊讶不已，从而演出一系列笑话。导演让－马力．普瓦雷善于突出并发挥演员的作用，注重对诙谐文字、滑稽剧和高卢幽默的兼收并蓄。本片“玩的是长达千年的“时间差，充分利用了张冠李戴和过时的习俗，围绕中世纪来客面对现代电子世界的丑恶遭遇产生的惊讶来做文章。它完美地运用了大量特技效果，故成一部滑稽惊险喜剧

简介：史蒂芬（丹尼尔·奥图 Daniel Auteuil 饰）与马克西姆（安德烈·杜索里埃 André Dussollier 饰）是相处多年的好友，性格迥异的两人之间产生的奇妙化学反应让他们成为了工作上的完美搭档。两人共同创建了一个小提琴工作室，提供出售和修理小提琴的服务，日 子过得平静而快乐。　　作为工作室的客户，卡米尔（艾曼纽·贝阿 Emmanuelle Béart 饰）的第一次光顾就吸引了两位好友的目光，马克西姆更是立刻就对卡米尔展开了热烈的追求，可是卡米尔的目光却落在了表面冷漠的史蒂芬身上。在拒绝和吸引中，三个人的恋情无法得以善终，多年后，当他们重新聚在一起，是否会因为曾经的退缩和恐惧感到淡淡的伤感？

简介：Paul Château Têtard, 48, falls in love with a young woman working as a counter clerk in the subway. When he plans to marry her, his mother launches a private detective on her tracks to prove she's cheating on her son.

简介：摄影记者塞尔维邂逅电影演员娜第尔，她为了生存不得不出演一些不能表现其才能的角色。娜第尔的丈夫雅克是一个有魅力的男人，但在幻灭后开始逃避现实。娜第尔和塞尔维很快发现了他们的相遇是如此重要。尽管这并不是他们两人愿意看到的，从相遇时他们便开始了一个老套的爱情冒险……

简介：身边有最好的朋友，才算拥有最棒的人生！患难与共的挚友亚瑟跟凯萨，因著一场阴错阳差的误会，凯萨以为亚瑟得了绝症，想陪好友完成所有人生心愿，活出最疯狂的每一天。

简介：法国儿童题材喜剧，根据畅销漫画改编，心地善良且富于幻想的12岁少女露，从小和天真烂漫的妈妈相依为命，在她缤纷的生活中有两项重要任务，一是每天偷偷观察对面男孩的一举一动、记录他的生活点滴；二是帮她宅到无可救药的妈妈找到人生新目标。一天，当一位潇洒不羁的音乐家搬进了她们的公寓大楼，不仅惊动了这对母女单纯平静的生活，也让露渐渐走出幻想的泡泡、踏入更辽阔精采的世界。

简介：奎萨（路易·德·菲耐斯 Louis de Funès 饰）带着自己的女儿妮可（吉内薇芙·格拉德 Geneviève Grad 饰）来到了一个新的城市工作生活，为了不被新结识的朋友们嘲笑，妮可谎称自己的父亲是一名百万富翁，并且拥有一艘豪华游艇。朋友们起哄让妮可带他们到游艇上玩，为了谎言不被揭穿，妮可只得接着欺骗游艇管理员。　　游艇真正的主人是当地的黑社会老大，他刚刚非法得到了一副价值连城的油画，将它藏在自己的爱车中。哪知道妮可的朋友们误将那辆车认为是妮可父亲的，于是偷偷的开出来兜风，最终他们的一连串骗局都被奎萨给撞穿了。在将车物归原主的时候，奎萨误打误撞的带走了那幅画，哪知道竟然被误认为是偷画贼。

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：本片用一种现实与记忆穿插的方式勾勒了男主人公X（吉奥吉欧·艾伯塔基 Giorgio Albertazzi 饰）与女主人公A（德菲因·塞里格 Delphine Seyrig 饰）公剪不断理还乱的情感纠葛。X的记忆中对于巴洛克宫殿里的亭台楼阁如数家珍，在他的描述性旁白中，人们 得以感受到他内心巨大的波澜。在剧场舞台上，戏子正在表演着离愁别绪的桥段。观众席上X跟贵妇A对视良久。歇息之时，剧场响起舞曲，X向A邀舞，两人在近距离表达了对彼此的感受。A觉得这个X是个关注自己的陌生人，但是X却讲述了去年与她发生的一段鲜为人知的故事。期间，还穿插了X跟A丈夫M（莎查•皮托夫 Sacha Pitoëff 饰）游戏对决的场景……

简介：

简介：比利时一家少管所，16岁男孩乔正为重返社会做准备，他不确定铁丝网的另一端会是怎样。但当另一个男孩威廉搬进隔壁房间后，对自由的渴望变得不再迫切。他们一起纹身、打闹、嘻哈，就像形影不离的兄弟。两个被外部世界放弃的年轻人找到了彼此，并且孕育出毫不妥协的爱情观：高墙之后，激情永远比自由更重要……

简介：白天，他们是隐形的——豪华酒店的服务员、女招待和调酒师。到了晚上，他们就是劫车者，一群熟练的司机，在路上追踪和抢劫富有的客户。当他们计划最终的抢劫时，酒店经理雇佣了一名无情的杀手，不惜一切代价阻止他们。随着危险的临近，诺拉、佐伊、史蒂夫和普雷斯顿能取得迄今为止最大的成绩吗？

简介：知名法国导演西蒙开始拍摄一部讲述工人们抗议工厂搬迁的电影，但一切都没有按计划进行。制片人想重写结局并威胁要削减预算；剧组人员罢工；他的个人生活也一团糟。临时演员约瑟夫同意执导幕后花絮纪录片，于是开始跟随剧组记录下这一切混乱……严肃作品《戈德曼审判》入围戛纳导演双周后，法国名导塞德里克·康转变风格，以这部喜剧色彩的戏中戏闹剧参展威尼斯并收获好评。影片以画幅的变化在戏里戏外自由切换，各种熟悉的段子信手拈来，忍俊不禁之余却又让观众对电影人之境遇唏嘘不已，堪称导演写给电影的一封情书，更验证了那句老话——片场故事比电影本身还要精彩。

简介：杰克（马提亚斯·修奈尔 Matthias Schoenaerts 饰）童年时遭受了极大不幸。因为和好友偷看美丽姑娘，惹上姑娘的哥哥——当地小混混布鲁诺，对方见到他们就要追打欺负，终于有一次下手太狠，用石头生生将小杰克睾丸砸碎。从此杰克的成长都要和注射激素为伴，激素也常常来自黑市。成年后的他成了老练、冷漠的农场工人，擅长养牛，喂牛也用添加激素的饲料，引来稽查员，将他卷入稽查员被杀案件；心怀的旧恨无法平复，终于让杰克走上报仇之路，他重遇事故前偷看过和爱慕着的露西亚（Jeanne Dandoy 饰），找到她如今已经成为植物人的哥哥……

简介：《自制英雄》是一部“另类”的法国“抵抗运动电影”，马修·卡索维茨（Mathieu Kassovitz）扮演一位传说中的抵抗运动英雄阿贝尔·德乌斯（Albert Dehousse）。就像影片的标题一样，他是一个“自制”的英雄（self-made），他是一个从小做着英雄梦的胆小少年，在二战期间做着推销员、门童和服务生，但他依靠从各种渠道搜集来的关于法国抵抗运动的信息、照片和传闻，在战争结束后把自己变成了在英国进行抵抗运动的英雄，甚至把自己说成了犹太人。讽刺的是，他因此成为临时政府的高级军官和幕僚，成为人人敬仰的英雄....

简介：改编全法国中学生指定重点读物《我答应》。《贝礼一家》王牌监製群操刀，又一喜泪交织的亲情暖心之作，坎城影后夏绿蒂甘丝柏格，动人演出全欧洲的母亲典范；横跨五个国家、耗时十四个星期、深入20至50年代历史核心的史诗钜作。　　罗曼加里(皮耶尼内 饰演)的人生可说是精彩非凡，在波兰 度过的贫困童年、法国尼斯阳光下的青少年时期，乃至于二次世界大战时担任飞行员，在非洲立下的彪炳战功。他为了成为一位伟大的男人与著名作家，艰辛尝尽人生的酸甜苦辣，全都是为了他的母亲妮娜(夏绿蒂甘丝柏格 饰演)。这个可爱又特立独行的妇人，对儿子的强烈母爱，令加里的人生充满波折、热情与神秘，也令他成为二十世纪的重要作家。只是，如此无止无尽的母爱，也终将成为他生命的负担…。　　电影《黎明的承诺》（Promise at Dawn）改编自法国文学巨擘罗曼加里1960年出版的自传小说《我答应》，描述罗曼加里成为法国文学巨擘的传奇故事，他与母亲之间至情至性的动人回忆，一部横跨二十世纪的史诗钜作、喜泪交织的亲情暖心电影。

简介：在第12部故事片中，艾曼纽·莫雷特(Emmanuel Mouret)展示了三个有着不同态度和道德观念的亲密女性之间的爱情变化，她们捍卫自己的观点，主张自己的爱情选择。乔安娜离开了女儿的父亲维克多。尽管她相信自己的决定在道德上是正确的，但她还是忍受着可怕的后果。他最好的朋友桑德琳提倡一种理性的婚姻，一种没有爱但充满温柔的关系。与此同时，乔安娜的妹妹丽贝卡相信爱情是一种冒险，并与桑德琳的伴侣保持着一段秘密关系。

简介：A Latin teacher, tired of fighting, gives all her students a very high grade to win peace in her class.　　Unfortunately, this qualifies them for a Latin competition taking place in Naples…

简介：改编自漫画《La Grande Odalisque》，讲述一群专门偷盗高档物品的女盗贼专家的故事，以巴黎和科西嘉岛为背景，是部群戏。

简介：Sandra、Samuel以及他们视力有障碍的儿子Daniel在偏远山区生活了一年。一天，Samuel在房子外面被发现死亡，警方立即展开了涉嫌命案的调查。在不确定的情况下，Sandra被控：这是自杀还是谋杀？一年后，Daniel参加了母亲的审判，这也是对他父母关系的真正剖析。

简介：比诺什在片中饰演50岁的离异教师克莱尔，她为了监视自己的情人乔，在Facebook上虚构了一个24岁漂亮黑发女生的人物身份。但是乔只接受自己认识的人的好友请求。为了能接近乔，克莱尔给他最好的朋友克里斯发了好友请求，克里斯接受了。　　不曾想，经过一段时间的聊天，克莱尔爱上了克里斯，克里斯也爱上了这个虚构出来的女生，他提出想见一面的要求。于是克莱尔不得不编出了一份繁忙的工作，一次长时间的出差旅行，还有一个嫉妒心很强的前任。她要么只能继续编造各种谎言来维持这份没有未来的爱情，要么就得承认自己的欺骗并做好失去爱情的准备……

简介：这么多年来，朱莉（朱丽叶·比诺什 Juliette Binoche饰）一直默默支持丈夫的创作事业，照顾5岁的孩子，平静的生活由一场车祸打破。丈夫和女儿的过世，令刚刚在病床上醒来的朱莉大为悲痛。她曾经想一死了之，出院后又生归隐之心，她把丈夫的曲谱付之一炬，以明隔离过往的决心。人间生活对于万念俱灰的朱莉来说，已经无关紧要。　　然而，现实却防不胜防地进入她的生活，让她开始思考自己对待生活的态度。同时，丈夫的朋友把丈夫留下的残稿发表在媒体上，声称要为这首曲续完。这件事意外地让朱莉得知，曲子原来跟一个女人有关。这个女人，肚中已怀有丈夫的骨肉。　　朱莉终于获得了心灵的自由，有勇气迎接新的生活和新的感情，她的人生开始转变。