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.

托德·海恩斯将首执导纪录片，聚焦缔造传奇的地下丝绒摇滚乐队。影片目前暂未定名，海恩斯则表示，本片必定会借鉴安迪·沃霍风格，也会更富文化意义。片中将收录乐队目前在世成员的采访。该纪录片的出现，也正好是该乐队首张经典专辑《地下丝绒与妮可》发行50周年。 　　托德·海恩斯宣布将携手宝丽金、Verve Label Group一同打造这部聚焦地下丝绒摇滚乐队的未定名传记片。他表示：“能与环球音乐的团队一起着手这个项目，我感到非常兴奋，这是我执导的第一部纪录片，是关于音乐世界中最激进、最具影响力的摇滚乐队之一的地下丝绒乐队。”

THE VELVET UNDERGROUND AND NICO (1966) 　　64 minutes, 16mm, black and white 　　Original English Version 　　Director: Andy Warhol 　　Producer: Andy Warhol 　　Cinematography: Paul Morrissey 　　Cameraman: Andy Warhol 　　Music: The Velvet Underground & Nico 　　Cast: The Velvet Underground & Nico (Lou Reed, guitar; John Cale, viola and bass guitar; Sterling Morrison, guitar and bass guitar; Nico, maracas, tambourine); Ari Boulogne, Gerard Malanga, Billy Name, Stephen Shore, Andy Warhol, New York police agents

When a couple of over-the-hill and down-on-their-luck female private eyes stumble from an art smuggling caper into a kidnap & murder plot, they throw caution (and common sense) to the wind and try to turn a profit instead of solving the crime. Lina Romay is absolutely hilarious as one of the crooked gumshoes. Christy Levin is the pretty member of the duo and she plays the dumb-as-a-doorknob angle just right against Romay's crafty bobo. 　　As with a lot of Franco's recent films, there's a bit of nudity (too much nudity in some cases) but that shouldn't deter you from enjoying the film. It's a One Shot Productions film and that usually means that someone was keeping an eye on Franco to make sure he paid attention to detail and that's a good thing. Even better, One Shot doesn't stop Franco when he wants to go overboard, so when Levin wants to distract a potential witness by showing him she's "number one," you get to see it all in very disturbing detail.

大学生杰弗里回故乡小镇照料患病父亲，回乡途中他意外发现一只人耳。警察威廉斯决定将此案彻查。杰弗里认识了威廉斯的女儿桑迪，二人相爱。桑迪告诉杰弗里案子可能与夜总会歌女有关。杰弗里在夜总会被歌女的美貌和气质所吸引，晚上设法来到她家，偷窥到歌女正被一个叫弗兰克的男人残忍地折磨着。弗兰克是无恶不作的黑道头子，绑架、贩毒、杀人，并且和警长狼狈为奸。弗兰克有性虐待癖，每糟蹋一个人就要在其嘴里塞上一块蓝色丝绒，或从身上割下一样东西留作“纪念”。 不谙世事的杰弗里这才知道，在自己生活的圈子外，这个典型的美国小镇里，还有如此黑暗的一面，他发现正自己慢慢陷入一个充满谋杀、变态的离奇世界……

大学生杰弗里回故乡小镇照料患病父亲，回乡途中他意外发现一只人耳。警察威廉斯决定将此案彻查。杰弗里认识了威廉斯的女儿桑迪，二人相爱。桑迪告诉杰弗里案子可能与夜总会歌女有关。杰弗里在夜总会被歌女的美貌和气质所吸引，晚上设法来到她家，偷窥到歌女正被一个叫弗兰克的男人残忍地折磨着。弗兰克是无恶不作的黑道头子，绑架、贩毒、杀人，并且和警长狼狈为奸。弗兰克有性虐待癖，每糟蹋一个人就要在其嘴里塞上一块蓝色丝绒，或从身上割下一样东西留作“纪念”。 不谙世事的杰弗里这才知道，在自己生活的圈子外，这个典型的美国小镇里，还有如此黑暗的一面，他发现正自己慢慢陷入一个充满谋杀、变态的离奇世界……

由彼得•布拉茨执导的纪录片，基于大卫•林奇1985年在美国拍摄的电影《蓝丝绒》。彼得•布拉茨独家记录了《蓝丝绒》的整个制作过程，其中大部分素材从未公开过。在《重访蓝丝绒》中，导演从收集的电影影像、大量录音、照片等物品中挑选出素材来组成一部令人回味的新电影。影片没有旁白，而是由导演自述故事。30年后，这些失落的，从未公开过的影像被重新审视和诠释。电影《重访蓝丝绒》将与观众分享那些被埋藏的财富。

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