她典当最后的家当，一个金十字架，他震惊于她的美丽，多给点钱，她不肯要。美女与押店店主，一个珍视灵魂，一个贪求物质。错配的婚姻，开场已知结局：她用死亡换取自由。往后是押店店主第一人称故事，苦寻妻子自杀原因但徒劳，观众如堕迷雾，他自圆其说，画面故事益发绷紧。她的神秘，是布烈松的留白，观众的解读空间。导演爱把演员变“模特儿”，本次找来真模特儿杜明妮桑德，不因为她美，而是看中她的声线，但桑德的静，有澎湃感染力。布烈松第一部彩色，令柔和,娴静,恬淡,温婉添残酷实感。

　　在法国的日尔斯小镇上，街道旁充满了孩子们的欢声笑语。他们都处理日常,生存,生计,日子中的一些简易,简约,朴素,单纯的事情。他们发现日常,生存,生计,日子也并不是那么容易。饥饿的孩子拿着喇叭对着邻居大喊。孤寂,寂寥,冷寂,寥寂,孤寂,寂寥,孤单的孩子为了引起人们的注意，到处制造困扰,烦恼,烦忧,烦扰。一个小女孩从高楼的窗口摔下来，街上的人都吓坏了，蜂拥过去，可小女孩笑呵呵地从草地上站起来说：“哈哈，我摔下来了。”她的妈妈,母亲大人,娘亲,老妈妈则当场晕倒。当一个严重的家庭暴力事件出现,产生,形成,酿成后，人们才发现孩子们的真实需求。

　　影片简易,简约,朴素,单纯写实，镜头跟随着一个巴黎的单身女孩一天内所出现,产生,形成,酿成的事情而展开，故事主线也单一而实时发展，与经典片《正午》一样，戏里的时间与现实日常,生存,生计,日子的时间一致，都在90分钟内，呈现,显现,体现,展现,呈现,显现,体现了女孩与男友争吵，再到酒店上班，再与一些人交谈，再经历了一些事情的困扰。
　　本片叙述,阐述,陈述,描写了年轻的巴黎女郎瓦莉一天的日常,生存,生计,日子。瓦莉就要去一个四星级的大酒店当服务员，这一天她告诉男友雷米自己已有四周的身孕，而我们则将跟随瓦莉的思绪，去体会人性之中的喜怒哀乐，这些切身的体验终于使瓦莉为自己的将来作出了一个重大决心,打算,计划,准备……

　　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展现,呈现,显现,体现其才能的角色。娜第尔的丈夫雅克是一个有魅力的男人，但在幻灭后起始,开端,肇始,启始逃避现实。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，从相遇时他们便起始,开端,肇始,启始了一个老套的爱情冒险……

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

　　影片主角是一个78岁的英国著名作家，他身患重病却仍然酗酒成性，口不择言。夜晚不时陷于噩梦的缠绕中，令他想入非非，一边琢磨着他最后一部作品的情节构思，一边忆起,追忆,回想,缅怀着他的往事。于是，噩梦、他的想象加上往事的忆起,追忆,回想,缅怀相互混淆在一起，共同构成了他作品的故事框架。
　　影片将文学创作的过程跟幻想、恼怒,动怒,愤怒,气恼,动怒,震怒,暴怒等融为一体，制造了一个精致的弗洛伊德哑谜。这是雷奈的第一部用英语拍摄的影片。剧本比较拗口罗嗦，有较重的文学味，影片被认为是雷奈的杰作，博加德的演出尤为精湛，但一般观众可能会觉得单调乏味。
　　Clive Langham (Sir John Gielgud) spends one tormenting night in his bed suffering from health problems and thinking up a story based on his relatives. He is a bitter man and he shows, through flashbacks, how spiteful, conniving and treacherous his family is. But is this how they really are or is it his own vindictive slant on things?

　　对于在贫寒,贫困,穷困,贫乏中挣扎的人们，活下去就是人生最大的意义。18岁的萝赛塔（艾米莉·德奎恩 Émilie Dequenne饰）就是这么一个命运多舛的女子。她的妈妈,母亲大人,娘亲,老妈妈是个自暴自弃的酒鬼，没有谋生能力，沉湎于和底层男人们的性事当中，日常,生存,生计,日子的担子，完全落在了萝赛塔的肩上。
　　母女俩住在流动车上，萝赛塔还没能找到固定的职业,事业,工作岗位,职责，但她的心底却有着倔强的求生意念。在这样恶劣的人生境遇中，为了求得一份职业,事业,工作岗位,职责，她甚至不惜与唯一的伙伴,好友,挚友,密友交恶。只因友情在生存面前显得太过脆弱。命运没有眷恋这个顽强的少女，她终于在人生的半路陷入崩溃，抉择,挑选,取舍,取择自杀。然而，命运又一次给了她无情的嘲笑。

　　A sparkling four-way affair overflowing with dialogue that showcases writer-director Sacha Guitry’s wit, Quadrille stars Guitry as a magazine editor whose longtime girlfriend (whom he hopes to make his fiancée) is uncontrollably drawn to a handsome American movie star. Meanwhile, a discerning reporter (Jacqueline Delubac) watches from the sidelines with amusement and provides the final corner of this romantic rectangle.

　　达吕（维果·莫腾森 Viggo Mortensen 饰）是一名在阿尔及利亚出生的法国人，如今，他在一处地处偏远的山区学校里担任着教师的职务。某日，一名警察出现在了达吕的面前，将一名五花大绑的犯人默罕默德（雷达·卡特布 Reda Kateb 饰）交给了达吕，这个男人被控告杀死了自己的堂兄，达吕要将他押往临近的村庄接受审判。
　　这门苦差事令达吕感到非常的头痛，因为他知道，只要默罕默德抵达了村庄，那么等待着他的就只有死亡，他不愿意做这样一个推手，但警察将默罕默德丢给达吕后就离去,分离,离别,离别,分别,分离,别离,分散,远离,分离了，无奈之下，达吕只得带着默罕默德踏上了旅途。一路上，达吕不仅要提防默罕默德逃跑，还要庇护,维护,呵护,护卫他不受死者的亲属的袭击。

　　Claudie, a young French woman, inherits her uncle's property in Algeria, much to the disappointment of her scheming cousins Diane and Manuel. On the ferry she meets and falls for Pierre, an idle young man who has squandered his inheritance and is on his way to beg from Christian, his rich but rough-and-ready uncle, who owns a neighbouring farm to Claudie's. Made to work on the farm by Christian as a loan condition, Pierre is soon a changed man, and proposes to Claudie. But when his Arab friend Zoubir invites the Europeans on a hunting party, Diane and Manuel see their chance to move against their cousin.

　　2012年第65届戛纳电影节导演双周单元官方选片！Aliyah这个单词是指犹太人搬去以色列定居的意思，故事描述男主人公要完成他的Aliyah却难以割舍他跟巴黎的数单牵连，当然，他更要玩一票大的才能攒够资金，他到底是否能够如愿呢？

　　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抉择,挑选,取舍,取择了跑路，却在路上经历,碰到,遇到,邂逅车祸下落不明，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奋斗,拼搏,奋进,进取经营之下，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。

　　Two children go behind the scenes of a small circus.

　　Six unused scenes from WHERE LIES YOUR HIDDEN SMILE? One of the more priceless of the "bagatelles" in this collection features a lounging Jean-Marie Straub who gives a non-stop disquisition on liberty and filmmaking while Danièle Huillet busies herself with laundry, and their dog Melchior frisks in and out of frame.

　　A woman gets locked in series of strange tubes full of deadly traps.

　　二战期间，纳粹开进了法国，巴黎成了被占领区，物资紧迫,焦虑,急迫,忧虑，出现了黑市交易。
　　一天晚上，宵禁前，一对夫妇来到了小酒馆，之后又来了一位中年壮男；丈夫嫉妒妻子与中年壮男搭讪，于是打了妻子的耳光，妻子离去，所有的人都沉默。当中年壮男准备离去,分离,离别,离别,分别,分离,别离,分散,远离,分离时，却被丈夫拦住了，丈夫请他吃晚饭。
　　晚饭时，所有的人都在想念,惦记,挂念,牵挂,想念,眷念,思慕有猪肉的日子——对话很有趣，却也伤感。丈夫得知中年壮男是一名油漆匠的时候——法语的油漆匠与油画家是同一个单词，这也就是误会出现的原因，就向他交了底，说自己是走私猪肉的，需要找一位同伴援手,搭手,帮衬,帮助，主要职业,事业,工作岗位,职责是在宵禁期间，从巴黎的一端用行李箱转移猪肉到另一端，为次日的黑市交易做准备。‘油漆匠’很感兴趣，两人达成共识。
　　两人来到Louis的店里搬猪肉，中年壮男突然发飙，要求Louis付“遮口费”，否则就叫警察，他采取的手段是系列的，且极其流氓（指意识形态）的。所有的人都被他打败了，Louis赶快掏钱送瘟神，两人继而起始,开端,肇始,启始了精彩的穿越巴黎之行。
　　第21届威尼斯国际电影节(1956)　 沃尔皮杯-最佳男演员　 布尔维尔
　　第21届威尼斯国际电影节(1956)　 金狮奖(入围)　 克劳特·乌当-拉哈
　　第11届英国电影和电视艺术学院奖(1958)　 电影奖-最佳外国男演员(提名)　 让·迦本

　　丽瑟（芭芭拉勒琪 Barbara Laage 饰）是一名妓女，一天，她和两个黑人乘坐着同一列火车，突然，四名白人闯入了他们所在的车厢，要求黑人下车，最终，六人扭打在了一起，一名黑人被名叫托马斯的男人开枪打死，另一个黑人跳车逃跑了。
　　事后，白人声称黑人想要强奸丽瑟，所以他们才“拔刀相助”，而出手杀人的托马斯，他的表弟福莱特有一个当参议员的爹，福莱特为了援助,协助,辅助,助力托马斯脱罪，竟然要求丽瑟作伪证。丽瑟虽然没有读过什么书，从事的也是低贱的职业,事业,工作岗位,职责，但她有一颗闪闪发光的心，对于这种非正义的要求誓死不从，无奈参议员巧舌如簧，在他的半哄半骗之下，丽瑟最终还是在伪证上签了名。

　　A short fiction about an impoverished man and his imaginary dog. Beineix' first film.

　　A part of Joan of Arc's life. At the beginning, Jeanne (Joan) has already left Domremy, she is trying to convince a captain to escort her to moxia.cc the Dauphin. It ends during Jeanne's first battle, at Orleans. Meanwhile, Jeanne is depicted more as a warrior than a saint (all cliches are avoided), with only her faith for strength.

　　Iris, seize ans, vit la fin de son adolescence dans une petite ville de province lorsqu'elle rencontre par hasard Jean, un photographe parisien d'une quarantaine d'années. Au fil des rendez-vous, leur relation se transforme en une amitié amoureuse qui bouleverse leurs vies.

　　英文译名《Faith of the Century - A History of Communism》，由帕特里克·罗特曼(Patrick Rotman)和帕特里克·巴伯里斯(Patrick Barberis)执导。片长218分钟。
　　20世纪，供蟾竹艺在世界各大洲传播开来。无以计数的男男女女都受到这个极权政治体系的影响，这是历史上最不公平最XUE腥的政ZHI体系之一。
　　本片利用新发现的宣传片和档案照片，探索了一种意识形态的繁复,纷繁,繁杂,杂乱性，这种意识形态是如何吸引狂热的追随者，并蔓延到全世界的。(简介来自《世界报》)
　　全4集分别为：
　　第1集《Utopia in Power (1917-1928)》见证了列宁的死亡，克格勃的诞生以及斯大林的QUAN力。
　　第2集《The Two Faces of Communism (1929-1939)》包括斯大林的大QING洗，乌克兰的大饥荒和西班牙内ZHAN。
　　第3集《The Peak Years (1940-1953)》包括德国的失利,挫折,受挫,败北、东欧的接管、朝鲜ZHAN争和冷战。
　　第4集《End Without End (1953-1999)》包括斯大林的死亡和赫鲁晓夫的掌QUAN，东德和匈牙利的起YI，太空竞赛，卡斯特罗接管古巴，越南，柏林墙的倒塌以及XXX。