The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 　　Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.) 　　By Lee Pfeiffer -cinemaretro.com-

The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 　　Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.) 　　By Lee Pfeiffer -cinemaretro.com-

除夕之夜，出租车司机赵威看见女友莉莉与外国人搂搂抱抱，心中很是不快，怒火中烧，车也失去了控制，正巧与迎面驶来的宋琪兄妹的摩托车撞在了一起。赵威原来想逃跑，后来由于良心的谴责，他掉转车头回去把昏迷的兄妹送进了医院。宋琪被救活了，可她的哥哥却医治无效死亡了。赵威怀着愧疚的心理担当起照顾宋琪的任务。宋琪母女不知真相，以为他是救命恩人非常感激。宋琪和赵威也渐渐产生了感情。可是此时，莉莉和盘托出事实的真相，爱恨交加的宋琪茫然地站在那里，看着赵威走向警车……

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

比呂志回到了兒時故居北九州的門司，重臨故地的他，發現眼前一樹一木，以至小時候與祖母一起生活過的旅館都依然如故；直至一個小男孩跑過，他才大為錯愕，因為他竟然是10歲時的自己！翻開報紙，比呂志才發現自己在途中穿越了時空，來到了20年前，亦即1986年的門司。機緣巧合之下，他住進了祖母的旅館，並重遇了當年他仰慕的和美姐姐。小時候，比呂志跟和美感情要好，大姐姐更教他學小提琴；可惜和美後來病逝，令比呂志的心中從此留下一道傷痕。今次重返過去，比呂志決定要扭轉命運，但他最終能否救回和美？昔日的遺憾可以彌補嗎？

影片《圣恩足球队》讲述了西班牙球星瓦尔多洛佩斯的真实童年故事，玛丽娜修女1994年夏天被送到El Parral，这是一所寄宿男孩学校，但很快会关闭。尽管孩子们用各种各样的恶作剧来欢迎玛丽娜，但她用爱心组建了足球队，并培养出了著名球员。

影片《圣恩足球队》讲述了西班牙球星瓦尔多洛佩斯的真实童年故事，玛丽娜修女1994年夏天被送到El Parral，这是一所寄宿男孩学校，但很快会关闭。尽管孩子们用各种各样的恶作剧来欢迎玛丽娜，但她用爱心组建了足球队，并培养出了著名球员。

因为愚人节的到来，几个看似毫无关联的人因为谎言，他们都被救赎了。这一天，奇迹发生了。 刚出狱的大勇得到从天而降一把枪，觉得是天意要他为乡里讨公道，去找对头算帐追回债款。他自知这是九死一生的任务，怕一去不返，所以在这之前以绑架的名义将与前妻的女儿豆豆诱拐，希望能一偿天伦之乐。假绑架，真感情，大勇认识素未谋面的女儿豆豆，如同自己一样不长进不懂事，就反教育她混社会的后果和做人的尊严，并且以奇特方式让她知道她的妈妈和继父骨子裡是爱她、疼她的……

河万起会长一手振兴了已经没落的河氏宗家，虽然他并非河家的亲子孙，但他决心把河氏宗家精神传承下去。然而他寄予厚望的孙子们并不争气，那对双胞胎兄弟…