简介：在1890年之前，作家契科夫（尼古拉斯·吉劳德 Nicolas Giraud 饰）创作的多为富有喜剧和讽刺色彩的轻松作品，他的作品因为诙谐幽默又浅显易懂，深受民众的喜爱，俄国科学院为了表彰他给世界带来的精神财富，将“普希金奖”颁发给了契科夫。　　1890年，契科夫孤身一人跨越了千山万水，来到了库页岛，这里曾经是政治犯的流放地。库页岛上宛如人间地狱一般的景象深深的撼动了契科夫的内心，他开始意识到，在自己熟悉的世界之外，还有这么多人生活在苦难和贫穷之中。从此，契科夫一改文风，以库页岛之行作为素材，开始撰写揭露沙俄专制制度的作品。

简介：改编自蕾拉·斯利玛尼同名小说《温柔之歌》。　　米莉亚姆生育两个孩子之后，再也无法忍受平庸而琐碎的家庭主妇生活，她和丈夫保罗决定雇佣一个保姆，路易丝就这样进入了他们的生活。路易丝无所不能、近乎完美，米莉亚姆夫妇总是骄傲地向别人介绍：“我家的保姆是个仙女。”随着相互依赖的加深，隔阂与悲剧也在缓缓发酵。

简介：贝蒂（Alba Gaïa Kraghede Bellugi 饰）是个敏感而胆小的小女孩，和爸爸妈妈一起住在精神病疗养院旁边一间阴森的大屋里。贝蒂整天都生活在巨大的孤独中：姐姐快乐的离家上学了、爸爸妈妈感情破裂、漆黑的大屋深处、昏暗的天空……一天，从疗养院里逃出了一个英俊的小伙子伊凡（本杰明•莱蒙 Benjamin Ramon 饰）。当贝蒂发现了虚弱的伊凡时，好心的她将他藏在了家里的杂物仓库。他们度过了一段快乐的时光，然而，警察也开始搜索伊凡了。为了他的安全，贝蒂要带着伊凡上路了。

简介：有着“小云雀”之称的法国国宝级歌手艾迪特·皮雅芙（玛丽昂·歌迪亚饰），她有着传奇的一生。皮雅芙的童年颠沛流离，先是被母亲抛弃，然后被父亲送到妓院由祖母抚养，随后在父亲从军队退役后，又被强行带走随马戏团演出生活。再之后皮雅芙跟随父亲卖艺为生，街头初啼并到成为一名酒吧卖唱的 少女。　　正式登台的皮雅芙顺利成为一名歌喉迷人的明星，演唱了许多脍炙人口的歌曲。然而她的情感却一再受挫，尤其是和拳击手马塞尔（让-皮埃尔·马丁斯饰）的情感经历。她的晚年每况愈下，最后死于肝癌。

简介：卢克（洛根·安托弗莫 Logann Antuofermo 饰）是一名出身平凡的小镇青年，他只身一人前往巴黎求学，在那里邂逅了名为杰米拉（欧莱雅·阿玛拉 Oulaya Amamra 饰）的美丽女子，两人之间很快就发展出了一段浪漫的关系。实际上，卢克在老家有一个交往多年的女 友让娜（路易丝·舍维约特 Louise Chevillotte 饰），当卢克返回老家后，他和杰米拉渐渐疏远了，反倒是和让娜旧情重燃，不仅如此，让娜的腹中还怀上了他的骨肉。　　一封录取通知书的到来意味着卢克必须离开让娜，返回巴黎继续深造，他抛弃了让娜，并且和一个名叫贝茜（Souheila Yacoub 饰）的女孩走进了一段新的关系中。被抛弃的杰米拉将整件事情都告诉了卢克的父亲（安德烈·维尔姆斯 André Wilms 饰），与此同时，卢克发现贝茜不是一个省油的灯。

简介：二十年来，般奴和马力克生活在一个不同的世界当中，那是一个属于患自闭症的儿童和青少年的世界。他们二人分别管理The Hatch The Shelter两个非牟利机构，目标在贫困地区培训年青人担任守护工作，负责照顾一些被其他机构拒于门外的重度患者个案。这非传统的合作关系展现了非一般的人生。

简介：1850年，一个遥远的法属小岛发生了一桩命案，醉了酒的渔夫（埃米尔·库斯图里卡 Emir Kusturica饰）犯下杀人罪，被判以极刑。然而这里山高皇帝远，没有铡刀之类的行刑工具，于是岛上的官员们求助于法国本部，让他们千里迢迢运来断头台。　　在这个等待的时间里，博爱善良的上尉夫人（朱丽叶·比诺什 Juliette Binoche饰）相信渔夫是一个本质不坏的人。她自从跟随丈夫来到这个荒凉的小岛之后，就一直料理着花园。如今她让渔夫帮她修整花园，干各种琐碎的家务活。渔夫和上尉夫人一同行善，还得到了居民的欢迎。上尉（丹尼尔·奥德耶 Daniel Auteuil饰）知道两人相处得日渐融洽，甚至萌生爱意，但出于对妻子无私的爱，他只是默默选择让妻子得到快乐。　　日子渐渐过去，断头台终于送到。上尉、上尉夫人和渔夫，也迎来了各人命运的转折。

简介：法国第一女主播法兰西强悍娇艳，记者会上向总统犀利提问，转眼又眉来眼去频送秋波；坐镇主持政论节目，以完美妆容力战来宾；亲身前往远方战地“演绎”实况，还不忘忙碌奔波照顾家庭。她原是法国人心头上的一颗硃砂痣，一场肇事车祸却让她成了那抹蚊子血。法兰西发现主播的华美衣袍下其实爬满了蚤子，播报台下的美丽与哀愁谁人能解？当她决定洗尽铅华隐姓埋名，意外的邂逅突然降临，触动心中最柔软的那一块⋯⋯。　　怪咖名导布鲁诺杜蒙以“法兰西”为名，直讽国家金玉其外却败絮其中的种种现象。从新闻操弄、难民问题到失能家庭，刻意营造的通俗手法与脸部特写，捕捉主角在虚假之外，无处安放的敏感脆弱。

简介：迷幻公园是这个城市滑板少年的聚集之地，当然，这里也是犯罪的多发地带。少年阿历克斯（盖博•纳文斯 Gabe Nevins 饰）迷恋上了这个公园，每天他都要到这里来，虽然他玩滑板不是很在行，但是能静静的坐在边上，欣赏场内各个高手各种各样的滑板花招，他已经感到十分快乐。然而，那天发生的一次事件却令到阿历克斯即使听到别人提起迷幻公园都十分局促不安。阿历克斯每天都在经历着一番剧烈的心理斗争，他惊恐、他害怕、他迷惘。最终阿历克斯会走向何方？

简介：A pit worker is crippled by an accident and his wife flirts with another man.

简介：机缘巧合之下，遭受失业和抑郁症双重暴击的中年大叔贝特朗加入了男子花样游泳 队，本想通过运动振作起来的他却发现这支队伍比他还丧他们中有欠了一屁股债的 失败商人，有久不成名却贼心不死老不正经的清洁工兼摇滚乐手，有一言不合就跳脚 骂街的暴躁工人，而教练虽曾经贵为世界冠军，现在则是一个酒鬼......这帮“失败者联 盟”能成功逆袭，成为法国男子花样游泳界的救星吗

简介：弗朗克，五十二岁，在市郊的一个商业中心中担任夜间巡逻保安。十年前，他曾是专业技术工人和工会代表，常常忙碌于工作而不得闲，总是充满了战斗精神。而现在，他却成为了自己生活中的一个逆来顺受的旁观者，他已经厌倦这般无趣的生活。一天深夜，他发现一辆吉普车在商业中心的停车场转来转去 ， 他感觉到这似乎是在为某件大事而做准备，出于好奇心和对现实生活的灰心丧气，他决定以一己之力与之抗衡，对于他而言，这是一个再一次把命运攥在自己手中的机会……　　Franck, 52 ans, est gardien de nuit dans un centre commercial de banlieue. Il y a dix ans, il était ouvrier spécialisé et délégué syndical, toujours sur le pont, toujours prêt au combat. Aujourd’hui il est le spectateur résigné de sa vie, et il s’ennuie. Une nuit, il voit un 4x4 qui rôde sur le parking, et sent que quelque chose se prépare… La curiosité le sort de son indifférence et il décide d’intervenir. Une occasion pour lui de reprendre sa vie en main…

简介：When he learns his days are numbered old count Hervé de Kéraudren decides to hide in a secret alcove and to die there, just to annoy his heirs. As a result of his body not being found the latter will have to wait for five years until they can inherit the count's money. Very upsetting indeed, all the more as they are required to keep up the Kéraudren estate in the meantime. To collect money, nephews and nieces organize a Son et Lumière show at the manor while busily looking for the missing corpse. But, unexpectedly, they get killed in turns. Murders or accidents Jean-Marie, his fiancée Micheline and his cousin Edwige investigate and finally succeed in exposing the culprit. And, the count's body being found by chance, all goes back to normal.

简介：一名年輕醫師搬到寧靜的鄉下，不幸成為青少年黑幫的目標；幫派準備對他做出肇事逃逸的行為。他的唯一依靠是一個十四歲的女孩，但可能會在重要時刻成為致命的傷害。

简介：年轻的画家雅克从乡间搭车前往巴黎。在到达巴黎的那个夜晚，他偶遇了正想投河自杀的玛尔特。雅克救下了她，并陪她回家，他们相约转天晚上再见面。第二个夜晚，雅克和玛尔特交换了彼此的人生故事，在玛尔特的请求下，雅克成了玛尔特和她情人间的信使。然而，那位绝情的情人并没回信，这让玛尔特非常失落。在接下来的两个夜晚，雅克对玛尔特的衷情终于得到回应，玛尔特也向雅克倾诉了爱意。第四个夜晚，正当两人挽手同行时，他们偶遇了玛尔特原来的情人…… 本片改编自费奥多尔·陀思妥耶夫斯基的短篇小说《白夜》。

简介：不知生母是谁的泰奥自出生后便交由社会福利部门照顾，社会工作者亦尽力为他寻找适合的养母。他的生命就是这样开始的。爱丽丝在过去十年一直都很想要一个孩子。《In Safe Hands》是讲述一个三个月大的婴儿和四十一岁的爱丽丝相遇的故事。

简介：影片由法国女导演麦温执导，法国巨星文森特·卡索搭档法国女星艾玛纽尔·贝克特和法国男星路易·加瑞尔出演，影片入围第68届法国戛纳电影节主竞赛单元。值得一提的是，文森特·卡索也有出演入围主竞赛的《故事的故事》，而艾玛纽尔·贝克特执导的影片《昂首挺胸》被选为本届电影节的开幕片 。　　女律师汤妮（Emmanuelle Bercot饰）滑雪受伤疗养时，回忆起她曾经历过的一段刻骨铭心爱情。她爱上了迷人的餐厅经理乔治欧（Vincent Cassel饰），两人从相互吸引、陷入热恋、甜蜜闪婚到天翻地覆的疯狂毁灭…。而她的疗伤过程，也不断地与这些感情经历相互对映，让观众彷彿置身其中、感同身受，前一秒才纵情欢笑、干柴烈火，下一秒却忌恨争执、甚至大打出手。当爱情从热恋跨向婚姻，究竟该是浓郁的幸福？抑或是烦苦的羁绊？

简介：在一个宗教和地下势力统治的地区：Dounia 一个15岁渴望权利和成功的女孩，在好友Mainouna的支持下，她决定追随大女毒贩Rebecca的步伐，在遇到一个 年轻的舞蹈家Djigui后，他撩动了她的心，将会打破她的不变的生活.....

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：约瑟夫是一位热情的嘻哈舞者，他拒绝和父亲一起去巴黎碰碰运气。他和他的女友艾玛和最好的朋友卡里姆一起，加入了著名的打破者尤里（Yuri）的巴黎剧组，试图赢得一场国际嘻哈比赛。但在选秀的那天，一切都没有如预期的那样发生：约瑟夫被艾玛和尤里出卖了，这个群体爆发了。约瑟夫是前明 星舞蹈家雷米（Remi）的收藏品，后来成为一名教师。他发现了古典舞的世界，并在纽约芭蕾舞入学考试期间遇到了才华横溢的克洛伊。通过这次邂逅，在嘻哈和古典舞之间精心策划了一个意想不到的联盟，约瑟夫将学会作为一个舞者和领导者感到合法，并成为一名艺术家。

简介：萨米尔(Samir)是一名身材高大、身材瘦长、40多岁的起重机操作员，他来自巴黎郊区的蒙特勒伊(蒙特勒伊)，深爱着他。他发现她是一个游泳教练在当地的游泳池,以及缺乏一个更好的计划,他决定让她的学生…虽然他可以完美地游泳。但他的谎言只会持续3个教训，他讨厌撒谎的人。真相的表面。Agathe是愤怒。结束吗不！在一次商务旅行中，阿加西前往冰岛，在她和萨米尔之间建立了一个海洋。

简介：1980年法國布列塔尼小鎮，沒有正版黑膠搖滾樂，只有盜版自錄混音帶。菲利浦與哥哥一起經營地下電台，充滿自信的哥哥擔任電台主持，談起搖滾口才流利，受到眾人矚目；擁有混音天份的菲利浦只能位居幕後，沉默寡言又邊緣。兵役將近，活在哥哥光環底下的菲利浦焦急地想完成自己的混音作品，直到前往柏林當兵，他才逐漸意識到，被環境困住的原來不只是自己。　　設定在搖滾樂的黃金年代、柏林圍牆倒塌前夕，新銳導演文森邁爾卡多納透過主角呢喃的旁白，搭配鮮活的攝影與剪輯，以及歡樂分隊、伊吉帕普等多首搖滾金曲，構築出一部充滿浪漫懷舊情調、青春又惆悵的成長電影。少年情懷總是詩，說不出口的那些、對未來的迷惘與期待，全寄語在磁帶裡，混成一軌屬於年輕世代的搖滾篇章。

简介：莱尼·格鲁伊滕生于30年代的一个从事建筑工程的商人家庭。在纳粹上台之后，她家曾获利其中。但在接下来的二战时期，莱尼却经受了一次又一次命运的打击。当她在战败前夕爱上俄罗斯战俘博里斯的时候，她被人民唾骂成“苏联婊子”。然而，即使是博里斯的死也没有打消莱尼对生活的勇气。她过着隐居的生活，而当她与土耳其劳工梅赫梅特相识相爱之后，她又重新选择了遵从自己内心的感受。(豆瓣字幕翻译2.0小组)

简介：Akerman's Toute une nuit is a collection of vignettes depicting the fancies and dramatic moments of a number of people throughout one summer night. The film has little dialogue and relies on a remarkable series of contrasts for effect a sultry night of deep, often painful depictions of passion visualized in a stark and grainy manner against the backdrop of a spiritless, bland Brussels.　　被认为是仅次于让娜 迪尔曼的该导演另一部杰作