Prada 2017春夏系列时装发布会通过一个特别的电影装置展映了《回顾向前》片段，这是Miuccia Prada与美国导演、作家David O. Russell合作的多平台短片。凭借《美国骗局》（American Hustle）、《斗士》（The Fighter）、《乌云背后的幸福线》（Silver Linings Playbook）声名大噪的David O. Russell，这次将《回顾向前》设想为一首“电影诗歌”：多位演员身处于一个带有未来感的超现实默片梦境，在不断切换的场景里复述演出相同的剧情。

(Paris) On April 24 [2006] the Georges Pompidou Center here began a retrospective devoted to a man synonymous with cinema itself: Jean-Luc Godard. Now 75, this legendary filmmaker has been reinventing motion pictures for over half a century. From his 1955 documentary Operátion Béton to the world premiere of Vrai Faux Passeport, a video essay commissioned by the museum, the four-month program includes more than 200 films by and about the arch modernist of the seventh art. 　　For the Godard cult, the retrospective is epochal; the mother ship of mise-en-scène has landed. But the movies are only foreplay to the main seduction. Travel(s) in Utopia, Jean-Luc Godard 1946-2006, In Search of a Lost Theorem is the unwieldy title of an unruly installation that sprawls throughout the large south gallery of the museum. Designed and executed by Mr. Godard, the show opened amid much controversy on May 11 and continues until Aug. 14. 　　He is clearly having his moment — or maybe not so clearly. Speculation and anxiety gathered in the months leading up to the opening as it became known that relations between Mr. Godard and the museum had soured and that the project would not be realized. The nature of what, if anything, would take its place remained an enigma until the moment of its unveiling... 　　Talk had long circulated of an ambitious project to be designed by Mr. Godard in conjunction with the retrospective. Conceived in collaboration with Dominique Païni, the former director of cultural development at the Pompidou Center, it was to have been called Collage(s) de France and to have functioned as a kind of elaborate, three-dimensional montage of Mr. Godard's methods and motifs. 　　The visitor would proceed through a series of thematic rooms. Myth would give way to Humanity and The Camera, pass through The Unconscious and end with Murder and The Tomb. Giant reproductions of paintings (by Delacroix, Goya, Nicolas de Staël) would adorn the walls alongside printed quotations and blown-up movie stills. Films and videos would flicker on televisions, screens and even a video iPod. Sculptural and environmental objects would allude to Freud, the Middle East and cinematic technologies. 　　Collage(s) de France was to have carried the subtitle Archaeology of the Cinema, an apt phrase given that all that remains of this fabled creature are its bones. Detailed scale models of the original conception are scattered throughout Travel(s), an exhibition about an exhibition — and thus quintessential Godard... 　　Before Yesterday is where you find the intriguing maquettes of Collage(s) de France, propped on wooden crates or piled in stacks, their meticulously designed chambers buzzing with electric motors and tiny lights. They are the depositary, the sketch, the graveyard of Mr. Godard's original conception, the score of a symphony forever unperformed. 　　Perhaps the most peculiar aspect of this "failed" installation is that everything Mr. Godard had wished to say is being said. Collage(s) de France has been realized, albeit as a ghost that haunts Travel(s) in Utopia. The entire exhibition functions as a kind of conceptual filmstrip for which the viewer is the light source and the cinema is entirely inside the mind. 　　-- Nathan Lee, The New York Times (quoted by the KG uploader, Odietamo, on his post). 　　Godard and Miéville do a walk-through of the maquette, with Miéville (wo)manning the camera and Godard pointing at things and describing them. (Written by the KG uploader, Odietamo, on his post). 　　And, for more infos, see : http://sites.google.com/site/dossierjeanlucgodard/3-informations-pratiques/debut-de-chronologie-pratique

(Paris) On April 24 [2006] the Georges Pompidou Center here began a retrospective devoted to a man synonymous with cinema itself: Jean-Luc Godard. Now 75, this legendary filmmaker has been reinventing motion pictures for over half a century. From his 1955 documentary Operátion Béton to the world premiere of Vrai Faux Passeport, a video essay commissioned by the museum, the four-month program includes more than 200 films by and about the arch modernist of the seventh art. 　　For the Godard cult, the retrospective is epochal; the mother ship of mise-en-scène has landed. But the movies are only foreplay to the main seduction. Travel(s) in Utopia, Jean-Luc Godard 1946-2006, In Search of a Lost Theorem is the unwieldy title of an unruly installation that sprawls throughout the large south gallery of the museum. Designed and executed by Mr. Godard, the show opened amid much controversy on May 11 and continues until Aug. 14. 　　He is clearly having his moment — or maybe not so clearly. Speculation and anxiety gathered in the months leading up to the opening as it became known that relations between Mr. Godard and the museum had soured and that the project would not be realized. The nature of what, if anything, would take its place remained an enigma until the moment of its unveiling... 　　Talk had long circulated of an ambitious project to be designed by Mr. Godard in conjunction with the retrospective. Conceived in collaboration with Dominique Païni, the former director of cultural development at the Pompidou Center, it was to have been called Collage(s) de France and to have functioned as a kind of elaborate, three-dimensional montage of Mr. Godard's methods and motifs. 　　The visitor would proceed through a series of thematic rooms. Myth would give way to Humanity and The Camera, pass through The Unconscious and end with Murder and The Tomb. Giant reproductions of paintings (by Delacroix, Goya, Nicolas de Staël) would adorn the walls alongside printed quotations and blown-up movie stills. Films and videos would flicker on televisions, screens and even a video iPod. Sculptural and environmental objects would allude to Freud, the Middle East and cinematic technologies. 　　Collage(s) de France was to have carried the subtitle Archaeology of the Cinema, an apt phrase given that all that remains of this fabled creature are its bones. Detailed scale models of the original conception are scattered throughout Travel(s), an exhibition about an exhibition — and thus quintessential Godard... 　　Before Yesterday is where you find the intriguing maquettes of Collage(s) de France, propped on wooden crates or piled in stacks, their meticulously designed chambers buzzing with electric motors and tiny lights. They are the depositary, the sketch, the graveyard of Mr. Godard's original conception, the score of a symphony forever unperformed. 　　Perhaps the most peculiar aspect of this "failed" installation is that everything Mr. Godard had wished to say is being said. Collage(s) de France has been realized, albeit as a ghost that haunts Travel(s) in Utopia. The entire exhibition functions as a kind of conceptual filmstrip for which the viewer is the light source and the cinema is entirely inside the mind. 　　-- Nathan Lee, The New York Times (quoted by the KG uploader, Odietamo, on his post). 　　Godard and Miéville do a walk-through of the maquette, with Miéville (wo)manning the camera and Godard pointing at things and describing them. (Written by the KG uploader, Odietamo, on his post). 　　And, for more infos, see : http://sites.google.com/site/dossierjeanlucgodard/3-informations-pratiques/debut-de-chronologie-pratique

「変態とは、目を閉じて花びんの形を両手で確かめるように、自分の欲望の輪郭をなぞり、その正確な形をつきとめた人達のことである……」 　　20世紀初頭のパリ、逃げられない売春宿で働く娼婦コレットは、同僚たちと暮らしながら、訪れる幾人もの客の欲望を満たす毎日を送っていた。 　　そんな息苦しい生活の中で、唯一の希望は想いを寄せるレオンとの逢瀬の時間だけ。 　　しかし、レオンが本当に自分を愛しているのか、コレットは確信を持てずにいるのだった…… 　　閉じられた楽園で力強く生きる女性と、己の欲望をさらけ出す"鼻下長紳士"。 　　愛と欲望が交錯する、美しくも妖しい館へようこそ……

The Velvet Underground - Under Review" is a documentary reviewing the music and career of one of rock music's most influential collectives; a band which esteemed music journalist Lester Bangs claims 'started modern music'. It features interviews with drummer Maureen Tucker, rare musical performances never available before as well as obscure footage, rare interviews and private photographs of and with Lou Reed, Andy Warhol, Sterling Morrison and John Cale. The film also features; rarely seen promo films; material from Andy Warhol's private film collection; interviews with colleagues, producers, musicians and friends; TV clips; location shots and a host of other features.

回顾：《蓝色星球》系列将分为两部分，探索澳大利亚大堡礁和巴哈马群岛这两个关键地区的生态系统和野生动物所面临的特殊挑战。随着繁殖季节的到来，本系列聚焦于鲸鱼和它们的幼崽、海龟和幼崽以及最了解海洋的科学家们的行动。这部剧充满了洞察力和奇观景象——哈马群岛令人难以置信的鲨鱼潜水以及大堡礁的水下黎明“合唱团”，这里是600种不同珊瑚和1500多种鱼类的家园。

本片为英国天空电视台(SKY One)制作的杰拉德05~06年(德国世界杯集训前)的纪录影片。不同于之前纪录片的球场风采，本片将更多笔墨放在Stevie的家庭、朋友、场外工作等方面，为你展现中场大将日常生活中截然不同的另一面。影片中，杰拉德将亲自领你参观他的豪宅，带你走进商业广告的拍摄现场，你还有机会一睹他与家人共享天伦之乐的珍贵画面。 　　Sky TV's documentry covers a year in the life of Steven Gerrard. Offering a unique and personal account of a momentous year which includes his recollections of winning the European Cup in Istanbul and the FA cup. Brilliant documentary that goes inside the everyday life of Liverpool captain Steven Gerrard throughout the past 12 months of his life. 　　附　录： 　　片　名：FA.Cup.Final.2006.-.Liverpool.vs.West.Ham 　　译　名：06足总杯决赛:利物浦vs西汉姆 　　格　式：TVRip 　　电视台：BBC Sport 　　解　说：英语 　　画　面：640x368 　　片　长：164min 　　简　介：英格兰当地时间2006年5月13日，英格兰足总杯决战，利物浦在两度落后的情况下两次扳平比分，队长杰拉德在补时最后1分钟将红军拖出地狱，士气大涨的红军随后在门将雷纳神勇发挥下通过点球大战击败西汉姆，时隔5年后再夺足总杯冠军。整整5年前，红军也是在一场经典逆转战中击败阿森纳，夺得足总杯冠军。5年之中英超传统豪门上演了5次经典逆转，利物浦堪称英格兰“逆转王”。

A collection of rare outtakes and performances from D A Pennebaker's 1965 classic DONT LOOK BACK.

A collection of rare outtakes and performances from D A Pennebaker's 1965 classic DONT LOOK BACK.

《英雄联盟：双城之战》完结已有一年，但其中还有许多我们未曾诉说的故事。我们与《双城之战》的配音演员、制作团队和粉丝们齐聚一堂，畅聊制作过程中的难忘瞬间、最初的创意构想、粉丝们的体验，以及一切和这部剧有关的点点滴滴。  本集内容：Fortiche艺术家揭秘塞薇卡机械臂背后的故事，《双城之战》联合创作者Alex Yee探讨团队最初构思的剧情，剧集粉丝们分享他们最喜欢的精彩瞬间。