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

NJ（吴念真）是个坚守原则的生意人，他和妻子敏敏（金燕玲）、女儿婷婷（李凯莉）、儿子洋洋（张杨洋）以及外婆一同住在台北的一所普通公寓里。小舅子那场状况不断的婚礼结束后，外婆突然中风昏迷，NJ一家的日子变得更加混乱。 敏敏在公司和家庭之间疲于奔命，时常觉得自己精力即将耗尽；婷婷一直对外婆中风一事心怀愧疚，恋爱进行到一半，却发现自己只是对方的替代品；NJ的麻烦更是接踵而至，公司面临破产危机，而他又不肯放下在别人眼中毫无价值的自尊。在这一家人里，似乎只有洋洋没有烦恼，他平静地用相机拍摄每个人的背面，想帮他们拥有另一双“眼睛”，然而，洋洋一句简单的话，却道出了更深的悲凉。

在台北市住着一户中等阶层的家庭：丈夫简南俊（吴念真 饰），妻子敏敏（金燕玲 饰），大女儿婷婷（李凯莉 饰）和年仅8岁的小儿子杨杨（张杨洋 饰），他们和敏敏的母亲共同生活着。　　在敏敏的兄弟阿迪的婚礼中发生了一系列的麻烦事，先是阿迪的旧情人云云在阿迪与小燕的婚礼上大吵大闹，而后在电梯口，简南俊与自己30年前的旧情人谢里相遇，接着因为婷婷忘记倒掉阳台上的垃圾,婆婆下楼倒垃圾导致中风而陷入了昏迷状态，婷婷一直很内疚，认为婆婆的病和自己有关。而在这一系列的打击之下，敏敏的精神几乎崩溃，她开始整天烧香拜佛。　　医生告诫家人需要每天轮流跟婆婆讲话，以帮助其康复。这样的对话，类似于自言自语，每个人都在这样面对自己时，有很多的感触，敏敏发现自己每天告诉婆婆的事情都一样，因为她每天都在重复同样的事情，最后不得不请护士念报纸来解脱尴尬困境，为寻求精神上的解脱，敏敏上山入宿寺庙了。　　新搬来的邻居丽丽和她的男友吵架了，两人分手后，丽丽的男友胖子开始主动和婷婷约会。这一段三角恋的背后发展为一起凶杀，这一切都让婷婷觉得悲伤。　　儿子洋洋受父亲的影响爱上了照相机，他觉得人只能看到一半儿的事情——只能看到前面，看不到后面，于是他开始拍摄人的背面，用儿童单纯而奇特的视角拍摄周围的生活。　　胖子杀死了和丽丽母亲和丽丽都有不正当男女关系的丽丽的英文老师。　　简南俊借着去日本出差的机会和旧情人谢里重叙旧情，两人虽然彼此知道自己是对方的真爱，却无法从头再来。　　不久婆婆去世了，敏敏下山回家。生活一如既往。　　在婆婆的葬礼上，杨杨念了一段自己写的话送给婆婆：“婆婆，我好想你……我觉得我也老了。”…

「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。

《一一之吻》是根据著名作家万方的同名小说改编的，讲述了曾经是闺中密友的姚一（赵子琪饰）和杨一（何琳饰）都爱上郭先（耿乐饰），从而展开明争敢斗的故事。故事通过两个女孩成长为女人的过程，揭示了都市年轻人的情感匮乏与情感迷失。 　　故事就发生在你我的身边，都市中的两个女孩，姚一与杨一，相似的名字，相似的年龄，但并不相似的性格，并不相似的情感经历，她们坚信是命运和缘分使她们成为了无话不谈的好朋友，共同面对人生中的情感经历与生活挫折，两个女孩终成密友；但青春年少的她们却没有意识到命运的无常，当她们的友谊逐渐变得更加深厚的时候，却发现两人同时爱上了一个男人，而那个男人则徘徊于这两个女孩之间，无从选择，男人的态度让两个女孩开始了一场没有硝烟的战争，到底是因为爱情不可抗拒的排他性，还是因为内心中一丝丝自私的占有欲，两个人也渐渐迷失了方向。这时两人突然意识到，两人从某一瞬间开始从密友变成了敌人。 　　当友情陷入爱情的漩涡，女孩之间的心思慢慢变得缜密，亲密无间变成嫉妒猜疑，无话不谈变成勾心斗角，愤怒与激情占据了两人，谁也没有去考虑爱情到底为了什么而存在。三个人之间的友谊与爱情，孰轻孰重，何去何从。三个人在感情的硝烟和激情中慢慢成熟，他们试着在读懂自己，读懂爱情，读懂幸福，也许这就是每个人都要经历的成长阶段，也许这就是生活本身的魅力所在。 　　几个年轻人的情感纠缠，现实生活当中的情感体验，三个人的感情何去何从，谁将是这场情感战场上的胜利者，命运到底怎样安排，当一切的未知变为现实的时候，三个人才发现命运虽然戏弄了他们，却也励炼了他们……

故事就发生在你我的身边，都市中的两个女孩，姚一与杨一，相似的名字，相似的年龄，但并不相似的性格，并不相似的情感经历，她们坚信是命运和缘分使她们…