由哈里·拉赫曼执导，理查德·迪克斯主演的影片

독고민은 신혼집에 들어가 도둑질을 하다가 미연을 겁탈한다. 체포되어 3년 동안 수감 생활을 마친 후 출옥한 그는 친구 동혁을 찾아간다. 러브 호텔을 상대로 여자를 대주는 일을 하는 그의 주선으로 독고민은 콜걸들을 관리하게 된다. 그 중 자학적이고 거칠은 여자 볼보에게 마음을 빼앗긴 독고민, 그러나 그는 볼보의 허벅지에 난 점을 보고 그녀가 과거에 자신이 강간한 여자 미연이라는 사실을 알게 된다. 볼보는 보육원에 있는 딸 하니를 해외로 입양시키려는 상태, 그는 하니가 자신의 자식임을 확인한다. 사실을 알게 된 독고민의 갈등은 시작되고 볼보가 깡패조직에게 납치되자 그녀를 구해내 사실을 고백한다. 충격을 받는 미연, 그러나 독고민의 헌신적인 사랑에 감동되어 두 사람은 하나가 된다. 　　毒正在考虑进入蜜月期的房子，而偷提前强奸。他三年监禁的他打算找朋友donghyeok入狱后被捕。毒困扰的日子台州对他的爱家，它们布置到管理呼叫女孩一个女孩。酷刑和苛刻的人都担心被偷毒害你的心脏女人沃尔沃，但他看到我在沃尔沃大腿知道的事实，女性由过去自己强奸前进。沃尔沃国家希望采取的女儿在幼儿园做在国外，他证实，他的孩子一样。有毒担心冲突了解到，我必须承认，其实救了她doeja开始，沃尔沃被黑帮组织绑架。免烧娇气，而是由毒的敬业爱打动困扰二人成为一体。

독고민은 신혼집에 들어가 도둑질을 하다가 미연을 겁탈한다. 체포되어 3년 동안 수감 생활을 마친 후 출옥한 그는 친구 동혁을 찾아간다. 러브 호텔을 상대로 여자를 대주는 일을 하는 그의 주선으로 독고민은 콜걸들을 관리하게 된다. 그 중 자학적이고 거칠은 여자 볼보에게 마음을 빼앗긴 독고민, 그러나 그는 볼보의 허벅지에 난 점을 보고 그녀가 과거에 자신이 강간한 여자 미연이라는 사실을 알게 된다. 볼보는 보육원에 있는 딸 하니를 해외로 입양시키려는 상태, 그는 하니가 자신의 자식임을 확인한다. 사실을 알게 된 독고민의 갈등은 시작되고 볼보가 깡패조직에게 납치되자 그녀를 구해내 사실을 고백한다. 충격을 받는 미연, 그러나 독고민의 헌신적인 사랑에 감동되어 두 사람은 하나가 된다. 　　毒正在考虑进入蜜月期的房子，而偷提前强奸。他三年监禁的他打算找朋友donghyeok入狱后被捕。毒困扰的日子台州对他的爱家，它们布置到管理呼叫女孩一个女孩。酷刑和苛刻的人都担心被偷毒害你的心脏女人沃尔沃，但他看到我在沃尔沃大腿知道的事实，女性由过去自己强奸前进。沃尔沃国家希望采取的女儿在幼儿园做在国外，他证实，他的孩子一样。有毒担心冲突了解到，我必须承认，其实救了她doeja开始，沃尔沃被黑帮组织绑架。免烧娇气，而是由毒的敬业爱打动困扰二人成为一体。

Based on rare archives, the exemplary adventure of Somankidi Coura – an agricultural cooperative founded in Mali in 1977 by West African immigrant workers living in workers’ accommodation in France – sheds light on the violence of colonial agriculture and the ecological challenges in Africa today.

Based on rare archives, the exemplary adventure of Somankidi Coura – an agricultural cooperative founded in Mali in 1977 by West African immigrant workers living in workers’ accommodation in France – sheds light on the violence of colonial agriculture and the ecological challenges in Africa today.

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

In a documentary about Samuel Fuller, the spectator gets different impressions about the Hollywood director and his films. The film is divided into the three sections: The Typewriter, the Rifle and the Movie Camera. The first segment covers Fuller's past as a newsman where he began as a copy boy and ended as a reporter. Part two describes Fuller's experiences in World War II, in which he participated as a soldier. The last section focuses on Fuller as director. Tim Robbins interviews Samuel Fuller revealing the director's own memories and impressions. Beside the interview, Jim Jarmusch, Martin Scorsese and Quentin Tarantino accompany the documentary with their comments. Written by Gerhard Windecker {[email protected]}