The unforgettable hero of Les quatre cents coups (The 400 Blows), Jean-Pierre Léaud made a spectacular entrance into the world of cinema at the age of 14. And to this day, it’s fair to say he’s never left. Truffaut, Godard, Eustache, Pasolini but also more recently Assayas, Lvovsky, Kaurismäki, Bertolucci, Tsai Ming-liang, Bonello or Serra... an impressive filmography in which he has invented a new way of being in front of the camera, where everything is true and everything is fiction. So much so that one might almost have a doubt: does Jean-Pierre Léaud really exist off- screen? Or does he belong entirely to cinema?

达里奥是一名来自哥伦比亚巴兰基亚的17岁男孩，他喜欢在一个狂欢节舞蹈团体中跳舞。但他试图对此保密，因为他的母亲不想让他跳舞。相反，她强迫他去叔叔的店里工作。他能参加即将举行的狂欢节吗？

小男孩埃利奥误打误撞被传送到银河系，被外星人当作地球星际大使。

影片讲述的是埃及艳后克利奥帕特拉（Cleopatra）与她的情人罗马英雄马克·安东尼（MarcAntony）的故事。这将是一部3D真人版的摇滚音乐片。

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. Made public the 21/05/2014.

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

The precious emerald necklace of Chiangrath has been given to the family of Parote Rachasena, whom is proud in his dignity and looks down upon Northern women like his mother. In which has created his feud of hatred for Princess Saengfarng so she must go undercover as Ngam Saenluang and Mae Liang in order to get the Silamanee back. Between “him” and “her,” the fued that they have created towards each other, can it be turn into “love” or not? Only “Silamanee” will be the significant key to unlocking this puzzle.

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )