André Sauvage’s Études sur Paris has long takes, improvised shots, no special effects, music or plot—essentially unwatchable to devotees of today’s wiz-bang, graphics-heavy documentary vocabulary. Long before tourist bureaus produced pastry-puff shorts or anybody could shoot a space full of holes with their cameraphone, field documentation was a select sport. To be a shooter required strict patience, an adroit sense of composition, and a willingness to lose (and maybe more importantly, money to pay for) film. If less political in the assemblage of its pieces, this is a film that that rubs shoulders with Man With A Movie Camera, Manhatta or Symphony of a Metropolis. 　　Études opens on the Seine, the camera bobbing and weaving to keep things interesting—a linear record of unquenchable curiosity. Passing ports or boats, Sauvage strains to include humans in the frame without dominating it; this being 1928, the director seems careful to preserve the city’s stature as a triumph of urban planning. There’s a diligent spread of master shots on monuments, busy train stations, canals, pillars and boulevards. You could fill a warehouse with the riches on display here: handhelds, tracks, dollies, scenes filmed from boats, cars and horse-drawn carriages. (And that’s just behind the camera!) This luxuriant approach betrays an abiding respect for human privacy, ironically, because Sauvage seems happy with people at a distance or with their backs to the lens—just as long as the image is true. 　　The film suggests Paris less as a miracle of industry or a well-oiled machine—popular approaches between WWI and WWII—than as an open plane dotted with great vantage points. There’s no clear artistic statement inherent in Sauvage’s design, but the deeper he penetrates Paris’ interior, the more people turn up onscreen—strolling, working, playing. Each shot takes on its own micro-narrative properties, which is where Etudes sur Paris becomes porn for peoplewatchers. Are those kids siblings? Who’s she waiting for? What’s being built here? What are those two ladies in that boat laughing about? If you get swept up in it, you’ll wish you’d been able to spend more time with them, and so the film comes highly recommended. In these uptight times, some documentaries are dense essays, and most are commercials for themselves. But this one, in its 83rd year, is nothing more and nothing less than a vigorous jaunt among the living.

André Sauvage’s Études sur Paris has long takes, improvised shots, no special effects, music or plot—essentially unwatchable to devotees of today’s wiz-bang, graphics-heavy documentary vocabulary. Long before tourist bureaus produced pastry-puff shorts or anybody could shoot a space full of holes with their cameraphone, field documentation was a select sport. To be a shooter required strict patience, an adroit sense of composition, and a willingness to lose (and maybe more importantly, money to pay for) film. If less political in the assemblage of its pieces, this is a film that that rubs shoulders with Man With A Movie Camera, Manhatta or Symphony of a Metropolis. 　　Études opens on the Seine, the camera bobbing and weaving to keep things interesting—a linear record of unquenchable curiosity. Passing ports or boats, Sauvage strains to include humans in the frame without dominating it; this being 1928, the director seems careful to preserve the city’s stature as a triumph of urban planning. There’s a diligent spread of master shots on monuments, busy train stations, canals, pillars and boulevards. You could fill a warehouse with the riches on display here: handhelds, tracks, dollies, scenes filmed from boats, cars and horse-drawn carriages. (And that’s just behind the camera!) This luxuriant approach betrays an abiding respect for human privacy, ironically, because Sauvage seems happy with people at a distance or with their backs to the lens—just as long as the image is true. 　　The film suggests Paris less as a miracle of industry or a well-oiled machine—popular approaches between WWI and WWII—than as an open plane dotted with great vantage points. There’s no clear artistic statement inherent in Sauvage’s design, but the deeper he penetrates Paris’ interior, the more people turn up onscreen—strolling, working, playing. Each shot takes on its own micro-narrative properties, which is where Etudes sur Paris becomes porn for peoplewatchers. Are those kids siblings? Who’s she waiting for? What’s being built here? What are those two ladies in that boat laughing about? If you get swept up in it, you’ll wish you’d been able to spend more time with them, and so the film comes highly recommended. In these uptight times, some documentaries are dense essays, and most are commercials for themselves. But this one, in its 83rd year, is nothing more and nothing less than a vigorous jaunt among the living.

影片通过六个章节来描述这个在1943年几乎遭到纳粹完全歼灭的塞萨洛尼基犹太群体的生活状态，以及他们所受到的威胁。过去和现在的交替构成了一个宽大的回音室，身处其间的观众将会体验到那令人惊骇的疯狂人性。

影片通过六个章节来描述这个在1943年几乎遭到纳粹完全歼灭的塞萨洛尼基犹太群体的生活状态，以及他们所受到的威胁。过去和现在的交替构成了一个宽大的回音室，身处其间的观众将会体验到那令人惊骇的疯狂人性。

这是一个“人越来越多，世界却越来越小”的——小世界。佛罗伦萨、布拉格、巴黎、上海、北海道小樽，五座城市，五段不同的爱情故事在这个“小世界”中上演，通过青春、奇幻、诗意、幽默等具有吸引力的风格，讲述男女主人公在世界各地寻找、邂逅、收获爱的故事，而其中，似乎还有着千丝万缕的联系。

这是一个“人越来越多 ，世界却越来越小”的——小世界。佛罗伦萨、布拉格、巴黎、上海、北海道小樽，五座城市，五段不同的爱情故事在这个“小世界”中上演。 　　浪漫的午夜巴黎上演了一段奇幻邂逅；神秘布拉格正经历一场忧伤的偶遇；美丽上海隐藏了一个关于美食与爱的秘密；北海道的唯美见证了一对新婚夫妇的蜜月之行；佛罗伦萨艳阳下的一场疯狂之旅也正拉开序幕……

Июнь 1965 года. Порой, жёстко, в обход закона; порой, договариваясь с преступниками – Родион Стоцкий, за три года работы начальником ми лиции, превратил Гурзуф в самое спокойное место Южного Берега Крыма. Здесь даже пляжные мошенники предпочитают не работать. 　　Но в начале нового курортного сезона, за пару дней, происходит сразу несколько преступлений: расстреливают блатных в такси; грабят грузовик, который везёт зарплату для работников «Артека»; совершают разбойное нападение на подпольное игорное заведение. 　　Стоцкий понимает, что все эти преступления связаны, и он должен найти преступников в самое кратчайшее время. 　　В расследовании ему помогает старый знакомый Тарас Зайцев, который перебрался с семьёй в Крым следом за Стоцким. 　　Epic Media 已提供官方英字/ 中字

The City is a pioneering short documentary film from 1939 that contrasts the problems of the contemporary urban environment with the superior social and physical conditions that can be provided in a planned community. It was directed and photographed by Ralph Steiner and Willard Van Dyke based on a treatment by Lewis Mumford based on an outline by Pare Lorentz. Aaron Copland wrote the musical score and Morris Carnovsky provided the narration. To purchase a clean DVD of this film for personal home use or educational use contact us at [email protected]. To license footage from this film for commercial use visit: www.travelfilmarchive.com

实业家Pierre Verdier将情妇Jeanne Ancelin从火车上扔下，杀死了她。她的丈夫安切林决定向杀害他妻子的凶手复仇，而凶手已被司法宣判无罪。