炙手可热的导演对偶然结识的英俊小生一见倾心，当他把男伴拉拔成银幕新星时，却也陷入万劫不复的深渊。影片重新诠释德国新浪潮巨匠赖纳·维尔纳·法斯宾德的《柏蒂娜的苦泪》，并以法斯宾德本人形象将主角性别由女转男。 　　除了找来《无耻混蛋》德尼·梅诺谢与影后伊莎贝尔·阿佳妮同台飙戏，更邀来原作传奇女星汉娜·许古拉现身客串，堪称是向法斯宾德献上了最大胆的致敬。

1986年摄制的36集连续剧。描写伪满洲国“皇帝”爱新觉罗·溥仪的武师兼保镖霍殿阁的生平事迹。 　　片尾曲是范琳琳唱的“不要逼我说话”---不要逼我说话,心中只有一个他,清清一口水,心中只有他的影…… 　　主题歌是“情哥哥心思猜不透”---红萝卜的胳膊白萝卜的腿儿，花芯儿芯儿的脸旁，红嘟嘟的嘴儿，妹妹和情哥一对儿对儿，刀压在脖子上也不悔……

暂无剧情简介

暂无剧情简介

"Molly's Theory of Relativity" is a sexy, funny, surreal, and devastating portrait of a beautiful twenty-eight-year-old astronomer who, having unexpectedly lost her job, is poised to make perhaps the first reckless decision of her life. Her story unfolds during an eighteen-hour period, on Halloween. Providing counsel on the fateful day are her husband; her father-in-law; three deceased relatives; a precocious nine-year-old trick-or-treater; her grandfather from Minot, North Dakota; and a six-year-old neighbor, who may or may not be imaginary. "Molly's Theory of Relativity" is about the economy, and how we value what we do for a living, to ourselves and to others. It observes the unbreakable bonds of family, and posits the notion that death is merely a relative thing.

The entire world praised the military and Aung San Suu Kyi, when power was passed on to the democracy icon after 50 years of military dictatorship. One year later she defended an ethnic cleansing and had isolated herself from the public. This film tells you why.

"Molly's Theory of Relativity" is a sexy, funny, surreal, and devastating portrait of a beautiful twenty-eight-year-old astronomer who, having unexpectedly lost her job, is poised to make perhaps the first reckless decision of her life. Her story unfolds during an eighteen-hour period, on Halloween. Providing counsel on the fateful day are her husband; her father-in-law; three deceased relatives; a precocious nine-year-old trick-or-treater; her grandfather from Minot, North Dakota; and a six-year-old neighbor, who may or may not be imaginary. "Molly's Theory of Relativity" is about the economy, and how we value what we do for a living, to ourselves and to others. It observes the unbreakable bonds of family, and posits the notion that death is merely a relative thing.

本片改编自德昆西写于1850年代的散文（《康德晚年及其他散文》），展现了康德去世前最后几年的生活。电影聚焦于这位伟大的哲学家那怪异的、强迫性的生活习惯，较少涉及他的哲学思想。全片最戏剧性的情节是，服侍了康德三十年的仆人突然决定离开。

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!)