A staging of Jean Barbier's play "Ma femme est sortie" by Jean-Pierre Dravel et Olivier Macé.

A teenage girl spends her vacation in Asia together with her mom and dad. There she meets another guy from France, who uses her, and she is caught by the drug police, arrested and sentenced to jail. Now her parents need to do something to release their innocent girl and punish the real criminal. Conditions in prison are very bad, the authorities are corrupted and are only interested in their money.

暂无英文版的简介，请添加内容帮助我们完善数据库。

暂无英文版的简介，请添加内容帮助我们完善数据库。

The first film of cinematographic history shows workers leaving a factory. The title of this work which is 50 seconds long and bequeathed to us by the Lumière brothers is La Sortie des Ouvriers de l'Usine. There are three known versions of the work. In the hardware and software of the cinematographic 'machine' resides much of the specifically mechanical charm of the industrial age. In one sense it is a paradox that the Lumières began film history with workers leaving the factory instead of giving place of honour to them working on the production lines. Over a hundred years later Siegfried A. Fruhauf has made a fourth version of La Sortie des Ouvriers de l'Usine. This remake gives short shrift to the unconscious irony of the Lumière films. Fruhauf needs six minutes to run through the current fate of industry. Fourteen workers are present here - five on the (optically) vertical axis, the rest cross the horizontal axis in the background. Their movements form a cross - a symbol of death as a ballet méchanique. The initial image is transformed into almost abstract black and white surfaces, harnessed, Sisyphus-like, to a lunatic dance of repetition. Fruhauf increases the acceleration of the striding workers in discrete steps until they are tearing along - the capacity of the film tested to its outer limits - until it can't take any more. Maximum acceleration leads to stasis - after the acceleration throughout the film comes the logical consequence - the last frame - the freeze frame. Nothing more can happen. The model (literally) of progress collapses. And instead the is paralysis. A dead end. The workers are motionless, and with them the factory. Rien ne va plus.

The first film of cinematographic history shows workers leaving a factory. The title of this work which is 50 seconds long and bequeathed to us by the Lumière brothers is La Sortie des Ouvriers de l'Usine. There are three known versions of the work. In the hardware and software of the cinematographic 'machine' resides much of the specifically mechanical charm of the industrial age. In one sense it is a paradox that the Lumières began film history with workers leaving the factory instead of giving place of honour to them working on the production lines. Over a hundred years later Siegfried A. Fruhauf has made a fourth version of La Sortie des Ouvriers de l'Usine. This remake gives short shrift to the unconscious irony of the Lumière films. Fruhauf needs six minutes to run through the current fate of industry. Fourteen workers are present here - five on the (optically) vertical axis, the rest cross the horizontal axis in the background. Their movements form a cross - a symbol of death as a ballet méchanique. The initial image is transformed into almost abstract black and white surfaces, harnessed, Sisyphus-like, to a lunatic dance of repetition. Fruhauf increases the acceleration of the striding workers in discrete steps until they are tearing along - the capacity of the film tested to its outer limits - until it can't take any more. Maximum acceleration leads to stasis - after the acceleration throughout the film comes the logical consequence - the last frame - the freeze frame. Nothing more can happen. The model (literally) of progress collapses. And instead the is paralysis. A dead end. The workers are motionless, and with them the factory. Rien ne va plus.

暂无英文版的简介，请添加内容帮助我们完善数据库。

This provocative hit series tells the stories of dangerous women who find extraordinary ways of coping with their problems, channeling their survival instincts and bringing out their inner guile.

A $10-million diamond rip-off, a stolen identity, a new life married to a diplomat. Laure Ash has risked big, won big. But then a tabloid shutterbug snaps her picture in Paris, and suddenly, enemies from Laure's secret past know who and where she is. And they all want their share of the diamond heist. Or her life. Or both.

A gorgeous movie star invites four men to a party to choose her lover. However, they start being killed and the situation gets out of control. This comic thriller is a remake of French movie “Serial Lover”.