暂无剧情简介

这部作品是根据欧仁·苏的同名著作改编而来。相比之下，我更偏爱 80 年代的法国连续剧版本，它更为完整细腻，也更贴合原著。

An allegory of searching, loss, displacement, and the discovery of new meanings and commonalities. Three men – Yi-En from China, Junior from Congo, and Hamzah from Palestine – share a spartan apartment in a seemingly abandoned building in Paris. Besides this joint living arrangement, the group is bound together by their shared experience of life in exile and the fleeting nature of their possessions, relationships, and sense of home. Director Isabelle Tollenaere’s fiction film debut is set in one of Europe’s great cities and in a replica of Paris built in China – a metaphor for the immigrants’ old dream of life in a new home and its gradual transformation into a new dream about their old home.

A group of Italian soccer fans arrive in Paris for a match, but most of them go their separate ways to explore the sights, have a bit of an adventure, and maybe even find some romance.

本片又名[疯狂的射线]。雷内·克莱尔在先锋派的无情节炫技作品[幕间休息]之后的剧情片处女作，科幻短片。某科学家发明了一种沉睡射线让整个巴黎所有的人都静止了，除了他自己及侄女，以及处在高空的埃菲尔铁塔看守人和飞机上的几位乘客。整个巴黎都属于他们了。于是这群资产阶级男女作为巴黎唯一能行动的人们开始了自己的冒险。影片的结尾很有趣。另外这部短片雄辩地证明，科幻片不一定非要数字技术……

讲述1870年巴黎公社起义的故事。

苏珊娜有过一段婚外情，这段婚外情给她带来了巨大的创伤，以至于她退出了竞选。也许这就是为什么她和她最好的同性恋朋友马克是室友的原因。然而，不出去约会并不意味着永远不会看到或被任何人看到。有一天，在公共游泳池游泳时，苏珊娜被一个可爱的年轻人吓了一跳。她的新朋友卢西恩开始与她和马克共度时光。浪漫在三人行中绽放：马克爱上了露西安，但他很不幸：露西安和苏珊娜成了情侣。

"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those of the '70s, notably North-South Triptych (1972-74), were marginalized because of their radical politics (not to mention their experimental form). Increasingly complex works in recent years continue to defy received notions of film versus photography, documentary versus fiction, and public versus private art: Amsterdam Global Village (1996), for example, is a look at the postcolonial metropolis as a post-McLuhan mosaic. It begins with a colorful St. Nicholas festival on Amsterdam's canals, and circles village and globe for more than four hours before culminating in a polysexual fantasy filmed behind an august facade overlooking the same canals."

A film shot as a serial, searching for a real cinematographic form, far from its fairy origins. Beautiful trip to Nice where you can feel Perret’s joy to film. The walk of Bosco-Maurice Lagrénée in the city and on the Promenade des Anglais, the triumph of the return of Captain de Valen-Emile Keppens from the colonies, the poor orphan Marie-Laure, every thing recalls the poetic realism that will be in fashion later in the French cinema, even if there is a reactionnary background in L’enfant de Paris. It makes us think of Duvivier, Carné, Vigo already…