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

住在废弃游乐园的神秘魔术师遇上了努力应对残酷现实的高中生，并将魔法带进了对方的生活。

讲的是一个年轻妻子的悲伤故事，她的丈夫在外包养情妇并生了小孩，她自己怀孕却做了流产手术，仅能从公公那里得到支持和温情。

讲的是一个年轻妻子的悲伤故事，她的丈夫在外包养情妇并生了小孩，她自己怀孕却做了流产手术，仅能从公公那里得到支持和温情。

年幼的空深彼方曾在废墟里遇到过一个女性，这个女性手拿着一个小号为彼方吹奏了一曲《奇异恩典》（Amazing grace）。因此彼方对成为喇叭手有了兴趣，带着“进了军队就能吹小号”的错误想法，空深彼方加入了军队，并驻留在赛兹（セーズ）的第1121小队。故事从她被卷入泼水节的骚动开始。故事时间是在不太遥远的未来，过于漫长的战争的痕迹污染了整个大地，于是，世界迎来了静静衰退的季节。假名、汉文等都是远古象形文字，连人口也很少，科技也退化没有再进步下去。

「我的，琴音——」 拥有传说般技艺的 津轻三味线演奏家·泽村松吾郎。 有着这样一位外祖父的少年·泽村雪， 在外祖父死后，就无法再弹奏三味线了…… 雪为了寻找失去的“喜爱的音色”， 而漫无目的地前往东京。 受到在公关俱乐部工作的女性「立树优奈」帮助的雪， 开始作为演出的暖场 进行津轻三味线的演奏。 雪将种种的邂逅与心意 通过三味线的音色弹奏出来。 不断寻找着自己的琴音， 和自己的心意——

普帕（帕塔拉德·萨恩固安卡瓦迪 Pattaradet Sa-nguankwamdee 饰）出生在一个土匪世家中，为了向父亲证明自己的能力，普帕决定向一直在追捕他们的警察皮塔萨库（友萨万·塔瓦丕 Yotsawat Tawapee 饰）寻仇。 　　普帕来到了坤的家中，将坤的未婚妻佩奇（莫妲·娜琳叻 Mookda Narinrak 饰）给绑架了，他想要和佩奇结婚，并且让她怀孕，以此来羞辱坤。普帕有一个哥哥名叫帕荣（Rapeepat Eakpankul 饰），他是土匪头子的亲生儿子，普帕必须和帕荣一较高下，来获得继承家族产业的资格。然而，在和佩奇朝夕相处的日子里，普帕渐渐爱上了这个善良天真的女人，佩奇给他打开了新世界的大门，令他知道，这个世界上还有着和现在截然不同的生活。

来自冰岛的Sigur Rós，是极其深邃而浪漫的存在。2007年Heima引领我们走进冰岛与世隔绝的缤纷绝美，检视这当代最独特摇滚天团的音乐旅程，而这部2011年威尼斯影展神秘登场的Inni，则以数位与十六厘米摄影机反复翻拍的类低传真黑白成像，献上一次绝无仅有的梦幻现场体验！由Miroir Noir导演Vincent Morisset操刀，以乐团2008年于伦敦亚历山大宫的两场表演为主，过去十余年的演出片段为辅，用穿梭于迷失在时间轨迹中的美丽音符，完成同时亲密而浩瀚、温暖而冷冽的动人现场体验，打造Sigur Rós再一次横跨声音与影像的感官实验。 　　Inni是偌大舞台中心最私密的部份。它是一种姿态的抽象展现、是美好细节的放大延展，是向Sigur Rós独特能量的致敬。Inni为我们聆听Sigur Rós音乐时脑海中浮现的所有美丽画面，留下了无限的想像空间。