“911”到底是基地组织恐怖分子所为，还是美国政府的密谋？戴安娜王妃的死真的是一个醉酒司机酿成的车祸？还是王室为了消除群众的非议痛下杀手？位于荒凉沙漠的51区到底有没有进行外星人活动研究？外星人是否就生活在我们身边？相信与否，这些阴谋论都不会消失。事件越严重，人们的猜测怀疑就越深。过于激进的理论，对未知事件事物的恐惧往往会引起流血冲突。所以这些理论的背后又有什么样的人类学心理学解释？对于这些看似异想天开的阴谋理论，我们又该采取什么样的态度？

《莉莉译东西》是一部中英双语的喜剧类迷你网剧，故事围绕着一名菜鸟口译员莉莉展开，讲述了这位懵懂中国留学生，毕业后在澳大利亚的翻译职场中摸爬滚打， 游走于中西文化，英语与中文之间的囧事。莉莉因一些文化上的差异与翻译上的较真，闹出了许多冷汗笑话。 在口译圈里“走钢丝”，除了需要有对语言的敏感，还得在“出口”时快、狠、准。莉莉要如何在职业道德和文化认同感间做抉择，在攀登“神翻译”巅峰中，渐渐融入澳大利亚多元文化的熔炉呢？ 本作品的创作灵感来源于编剧兼导演冯方娟的亲身口译职场经历，每集旨在以原汁原味的中英交流方式，呈现全新的口译工作场景：从社区菜园，到警察办案，再到艺术圈等，为观众们开启了一扇了解华人移民群体在海外生活的大门，并用幽默诙谐的方式呈现他们异乡生活的喜怒哀乐。

《莉莉译东西》全剧共五集，每集以约五分钟的时长去讲述女主角莉莉作为一位初入职场的口译员是如何迎接各种令人意想不到的翻译任务的：从网红吃播现场到泌尿科医生咨询；从阳春白雪的艺术家座谈会再到鸡飞狗跳的中国大妈后院琐事……这部剧体量虽小，却展示了一个令人眼花缭乱的当代多元文化澳洲社会，以及作为一名口译员需要面对种种挑战——不仅是语言，更是整个东西文化的碰撞。

学者型官员，四十三岁，金融专家，果断干练。在仕途和学术之间挣扎。思虑缜密，疑心颇重，派人调查郑秋冬。其对仕途的追求，与家庭其它成员对生活的追求发生矛盾。

李氏家族不曾向外界开放的藏书楼临渊阁突然遭窃，侦探白飞受邀前来协助调查。在神秘的密室现场，他发现这看似普通的盗窃案背后危机四伏，人人都似乎怀揣着不可告人的秘密。

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。

想要守护历史的年轻史官和为了成为国王而想要抹去历史的王世孙为了彼此的信念而斗争的故事。