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。

徐向前元帅是中国十大元帅中唯一的北方籍元帅，他的一生充满传奇色彩。该剧讲述的是1947年至1949年间，在山西战场，徐向前和他的老师、同乡、著名国民党山西王阎锡山斗智斗勇的故事。徐向前在兵力对比悬殊，装备劣势不利的条件下，精于谋略，指挥果断，敢打敢拼，先后发动了运城战役、临汾战役、晋中战役和太原战役，使阎锡山节节败北，最终全部消灭。本剧谱写了解放战争史上绝妙辉煌的篇章，充分展示了徐向前元帅的指挥才能和人格魅力。

徐向前元帅是中国十大元帅中唯一的北方籍元帅，他的一生充满传奇色彩。该剧讲述的是1947年至1949年间，在山西战场，徐向前和他的老师、同乡、著名国民党山西王阎锡山斗智斗勇的故事。徐向前在兵力对比悬殊，装备劣势不利的条件下，精于谋略，指挥果断，敢打敢拼，先后发动了运城战役、临汾战役、晋中战役和太原战役，使阎锡山节节败北，最终全部消灭。本剧谱写了解放战争史上绝妙辉煌的篇章，充分展示了徐向前元帅的指挥才能和人格魅力。

(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

The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. 　　"Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová

拥有绘画天赋的阿明为令相爱多年的女友美仪过上优渥的生活，放弃成为艺术家转做挣钱较多的职员。他没想到的是，自己为梦想的未来辛苦打拼时，美仪竟背着他结识了比他有钱的男人，两人分手。而感情受挫更令他工作严重失误而被辞退。 为了有新的开始，阿明换了居住环境，结识房东小蕾，后来又成为她的同事，而工作中他的绘画才能也因偶然机会被老板赏识。朝夕相处中，阿明与小蕾生出感情，小蕾的哥哥也极力撮合两人携手同行。但这时美仪杀来回马枪……

拥有绘画天赋的阿明为令相爱多年的女友美仪过上优渥的生活，放弃成为艺术家转做挣钱较多的职员。他没想到的是，自己为梦想的未来辛苦打拼时，美仪竟背着他结识了比他有钱的男人，两人分手。而感情受挫更令他工作严重失误而被辞退。 为了有新的开始，阿明换了居住环境，结识房东小蕾，后来又成为她的同事，而工作中他的绘画才能也因偶然机会被老板赏识。朝夕相处中，阿明与小蕾生出感情，小蕾的哥哥也极力撮合两人携手同行。但这时美仪杀来回马枪……

莉拉16岁的早晨，就跟往常一样，不小心贪睡了一点，但今天稍微有些不一样，没人敲她房门催促她快点起床。等她终于清醒，却遍寻不着她的父母。莉拉出门却发现不但邻居、整个小镇、社区甚至整个城市，都找不到半个活生生的人影，所有的人都消失了。面对宛如世界末日的情景，莉拉陷入了自己是某场灾难唯一幸存者的恐慌，然而，在她跌跌撞撞的同时，她终于和其他4名青少年相遇了…… 　　5名少年少女试着在寂静无声的世界生存，然而，究竟是什么原因带走了其他人？又有什么潜伏在暗处，兴味盎然地观察着他们呢？

A stage actor's turn as GDR leader Erich Honecker inspires an outlandish scheme to keep his daughter safe during the Leipzig protests of 1989.