在法王路易十六时期，社会矛盾不断激化，新兴的资产阶级开始对农民的苦难表示同情。受到巴黎雅各宾派思想的影响，马赛港的市民阿尔诺带领同情改革的人们设计夺取要塞，获得武器，并将公爵驱逐出境。随后，他们召开集会通过决议，组织了500名义勇军前往巴黎，以营救被囚禁的改革派议员。马赛市民积极响应，高唱着马赛曲，壮志凌云，踏上征途。 　　途中，他们受到了拥护共和的人民的热烈欢迎，同时也与顽固的保皇党进行了激烈的战斗。最终，他们抵达了巴黎，并汇入了革命者的队伍。1792年8月10日，在雅各宾派的领导下，巴黎人民终于推翻了路易十六王朝，取得了政权交替的胜利，为法国大革命的开端揭开了序幕。而在这一时期创作的进军歌曲《马赛曲》，更成为了鼓舞斗志、激励人心的重要赞歌，激发了人们的爱国热情和革命精神。

The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004. 　　After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. Zelda disappears, Sophie stays. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken. 　　Sophie, for the first third of the film, is in Marseille. She walks around, she takes pictures. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. We hear sounds, we see her face but the background is blurred. She does not seem unhappy, she does not seem happy. She does not talk much and she always thinks for a long time when she is asked. In the end she will be asked what it is she photographs. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets. 　　We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. There is a lot we don't see - although it takes some time to realize how much. She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). The next night they dance. 　　One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. There is more she has left, or rather: she has run away from. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is Hanna, an actress, Ivan's girl friend, their son Anton. We learn more about Ivan, we learn more about Hanna. We see Ivan taking pictures of women workers in a factory, without an explanation. We just see and watch. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. They talk, but not much. We just hear and see and watch. There is a lot we see - although it takes some time to realize how much. We are left with these images. They remain unexplained and they don't explain what we see. "Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all). 　　For ten minutes, at least, we watch a rehearsal. Hanna plays a minor role in a Strindberg play. The same scene is rehearsed three times. We watch the man talking to the woman in an aggressive Strindberg way and we see Hanna entering the stage. Then the camera moves to the left and we watch the woman answering to the man in an aggressive Strindberg way. This time we don't see Hanna entering the stage. When leaving she makes a mistake, she adds a word that does not belong in her line. We see her then off stage, cowering. Hanna is not happy. She is not happy with David, she suffers from unexplainable pain. We do not learn much more about her. Sophie is out of sight for quite some time. We start doubting if this is really her story we are told. Oh yes, it is, but Schanelec refuses to follow her and her story in linear fashion. Ivan's taking of pictures, Hanna's rehearsal become important, not so much as explanations for their behaviour, just as the parts of their lives Schanelec has decided to follow. 　　Sophie then returns to Marseille and after the most daring ellipsis we see her at a police station, in a yellow dress. She sits, then she talks, then she does not talk for half a minute. She is asked what it is she photographs. The streets, she says after what seems a very long time. She cries. We see her on a sidewalk, the camera moving parallel to her. She crosses the street, the camera remains on the sidewalk, Sophie is moving away from it. Then she stops and the camera stops. She enters the German consulate. In Schanelec's (and cinematographer Reinhold Vorschneider's) films you see the most intelligent and subtle travellings imaginable - and even mor effective as they starkly contrast with a lot of very long, very static takes that just make you watch and see. 　　"Marseille" ends with a series of takes on the beach. It is getting dark, the streetlamps are switched on. We see Sophie in her yellow dress, distant, moving, we see the sea and there is a strange kind of consolation in this image of the dress, Sophie, the sea.

The first movie of the "Berliner Schule" ("La Nouvelle Vague Allemande" Cahiers Du Cinema) that gained international recognition with it being screened in the "Un certain regard"-section of Cannes Film Festival 2004. 　　After the very sparse white on black of the opening credits we see the back of Sophie's head. She's in a car, she speaks awkward French, the woman who drives gets out, gets her a map, of Marseille. We learn, very soon, that they are exchanging apartments, the other woman, her name, we learn later, is Zelda, will go to Berlin and Sophie will stay, for a few weeks, in Marseille. Zelda says: Guten Tag, Auf Wiedersehen, Mein Freund, der Baum, ist tot - the latter phrase being a German song by a German singer who died young. Zelda disappears, Sophie stays. Zelda very literally disappears because there won't be a trace of her when Sophie will return to Berlin. The Marseille apartment, empty, unlived in as it is, will have been a gift, something inexplicably given in a film that ends with something - almost a life - taken. 　　Sophie, for the first third of the film, is in Marseille. She walks around, she takes pictures. She looks at the pictures, she moves without a direction, the camera is with her, sometimes distant, sometimes following her closely. Sophie is a stranger in a strange world, she sometimes seems cut off from her surroundings. We hear sounds, we see her face but the background is blurred. She does not seem unhappy, she does not seem happy. She does not talk much and she always thinks for a long time when she is asked. In the end she will be asked what it is she photographs. She will think for half a minute (or perhaps she does not think, but simply refuses to answer, to herself, to the policeman who asks) and then she says: The streets. 　　We do not know much of her and we do not learn much of her in these minutes we spend in Marseille, walking around with her. She meets a young man from a garage, who lends her his car, she drives around, which we don't see. There is a lot we don't see - although it takes some time to realize how much. She meets the young man in a bar, they drink, a friend arrives who insults Sophie, for no reason. Sophie and Pierre, the young man, walk up in a street that is lit in brownish golden light and they sleep with each other, which we don't see (and, really, don't know). The next night they dance. 　　One very sharp cut later Sophie is back in Berlin, she is approached by a young woman who returns a cap to her, a cap she has left in a McDonald's restaurant before she went to Marseille. There is more she has left, or rather: she has run away from. (At least this is what can - but does not have to be - inferred.) There is Ivan, a photographer she might be in love with. There is Hanna, an actress, Ivan's girl friend, their son Anton. We learn more about Ivan, we learn more about Hanna. We see Ivan taking pictures of women workers in a factory, without an explanation. We just see and watch. We watch the women from a sidewards angle, then we watch Ivan taking the pictures, then we watch the woman from Ivan's perspective. They talk, but not much. We just hear and see and watch. There is a lot we see - although it takes some time to realize how much. We are left with these images. They remain unexplained and they don't explain what we see. "Marseille" has a bewildering structure, switching from the elliptical cut (shocking, really) to the insistent gaze (frustrating first, but amazing after all). 　　For ten minutes, at least, we watch a rehearsal. Hanna plays a minor role in a Strindberg play. The same scene is rehearsed three times. We watch the man talking to the woman in an aggressive Strindberg way and we see Hanna entering the stage. Then the camera moves to the left and we watch the woman answering to the man in an aggressive Strindberg way. This time we don't see Hanna entering the stage. When leaving she makes a mistake, she adds a word that does not belong in her line. We see her then off stage, cowering. Hanna is not happy. She is not happy with David, she suffers from unexplainable pain. We do not learn much more about her. Sophie is out of sight for quite some time. We start doubting if this is really her story we are told. Oh yes, it is, but Schanelec refuses to follow her and her story in linear fashion. Ivan's taking of pictures, Hanna's rehearsal become important, not so much as explanations for their behaviour, just as the parts of their lives Schanelec has decided to follow. 　　Sophie then returns to Marseille and after the most daring ellipsis we see her at a police station, in a yellow dress. She sits, then she talks, then she does not talk for half a minute. She is asked what it is she photographs. The streets, she says after what seems a very long time. She cries. We see her on a sidewalk, the camera moving parallel to her. She crosses the street, the camera remains on the sidewalk, Sophie is moving away from it. Then she stops and the camera stops. She enters the German consulate. In Schanelec's (and cinematographer Reinhold Vorschneider's) films you see the most intelligent and subtle travellings imaginable - and even mor effective as they starkly contrast with a lot of very long, very static takes that just make you watch and see. 　　"Marseille" ends with a series of takes on the beach. It is getting dark, the streetlamps are switched on. We see Sophie in her yellow dress, distant, moving, we see the sea and there is a strange kind of consolation in this image of the dress, Sophie, the sea.

俊日偶然在咖啡厅听到了贤日的音乐，他主动将自己的音乐拿给对方听，并提议二人一起组建乐队。在一位模特作为新成员加入后，三人乐队开始创作属于他们自己的音乐。他们的音乐以感性的旋律展现了年轻人面对爱情的不安与纠结。影片也展现了面对爱情，面对梦想始终犹豫不决的年轻人们演奏出自己的旋律，唱出自己的心声的那一个比任何时候都要耀眼夺目的瞬间。

俊日偶然在咖啡厅听到了贤日的音乐，他主动将自己的音乐拿给对方听，并提议二人一起组建乐队。在一位模特作为新成员加入后，三人乐队开始创作属于他们自己的音乐。他们的音乐以感性的旋律展现了年轻人面对爱情的不安与纠结。影片也展现了面对爱情，面对梦想始终犹豫不决的年轻人们演奏出自己的旋律，唱出自己的心声的那一个比任何时候都要耀眼夺目的瞬间。

保罗已经25年没见哥哥约瑟夫了，为了照顾自己粗犷年老的父亲，保罗决定放弃在加拿大平静和谐的生活，带着儿子回到马赛，期望不会在父亲身边逗留太久。

保罗已经25年没见哥哥约瑟夫了，为了照顾自己粗犷年老的父亲，保罗决定放弃在加拿大平静和谐的生活，带着儿子回到马赛，期望不会在父亲身边逗留太久。

Raoul rushes to Marseille where his daughter is dead, with nothing but a few names of people she hung out with and adresses of places they went to. Nothing matches: it's all bullshit. Nothing seems real except for the album she recorded. By diving into the ruckus of Agnès' life, is he rushing towards death or the beginning of something new?

Raoul rushes to Marseille where his daughter is dead, with nothing but a few names of people she hung out with and adresses of places they went to. Nothing matches: it's all bullshit. Nothing seems real except for the album she recorded. By diving into the ruckus of Agnès' life, is he rushing towards death or the beginning of something new?