Project 阶段。吕萨纪录片大会放映。

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

影片的每一分、每一秒中的24帧都是真实记录，影片以 中国电影资料馆珍藏的抗战时期记录影像作品作为素材，展现出百分百真实的抗战历史，这些真实的影像将穿越历史的迷雾，将真相带到观众面前。影片从284部影片中精剪了13000余帧画面，全方位的展现了1931至1945年了捍卫国家主权和领土完整、洗刷民族耻辱的中华儿女和前线将士，以及各种大型会战、白刃厮杀、屠城血证和令人振奋的胜利纪念。 战火中的孩子2015年元旦刚过，《燃烧的影像》主创团队进入了紧张的前期筹备阶段，经过技术人员多日专业的特殊处理，经过数字化的影片一批批成为可用的基本素材。 燃烧的影像从2014年开始，出品方对馆藏的500余部 抗日战争时期纪录电影，进行了数字化扫描和整理考据，最终从284部影片中精选了133000余帧画面，编导制作完成了时长95分钟的纪录电影《燃烧的影像》。影片所有画面均来自历史现场，没有任何现在时态的搬演和采访，其中很多影像均为独家曝光。由于这些老纪录片胶片已经历经70余载，画面损伤严重，为了保证观众看到较为清晰的画面，出品方还对其中180000帧素材进行了修复。这是中国电影资料馆首次将馆藏资料制作成纪录片面向社会公映。 燃烧的影像在影片策划制作过程中，文案工作组和导演团队坚持“让历史说话，用史实发言”。为确保影片文案解说的真实详尽，主创团队专门聘请中国解放军军事科学院军事史专家、 中国社会科学院近代史专家作为顾问。影像中出现的事件、人物、军队番号，甚至军服、武器、徽章都经过了考证。原始素材多数是无声片，不少连片头都没有，仅仅看影像难以理清头绪。摄制组购置了大量抗战文献，发现同样的历史资料，数据就常常不统一，对于细节的说法也各不相同。为此，导演组专门请来了军事科学院、 中国第二次世界大战史研究会、中国社会科学院近代史所等权威机构的专家给予专业指导。一部分抗战史专家发现，以本片的素材影像作为原始史料，也修正了以往一些史料的错漏之处。从事修复工作的团队大多是80后、90后年轻人，十余人连续几个月都没休过假，连续熬夜也病倒了三个人。一个做后期剪辑的小伙刚结婚两个月，为了赶片子基本上都没怎么回家。仅看完所有素材也需要几个月时间，为了让影片赶在抗日战争胜利70周年纪念日上映，整个团队一直在加班，大量惨烈的画面也给年轻人的心理带来不适感，有些人甚至做过噩梦，导演组后半程吃住几乎都在机房里。

The unforgettable hero of Les quatre cents coups (The 400 Blows), Jean-Pierre Léaud made a spectacular entrance into the world of cinema at the age of 14. And to this day, it’s fair to say he’s never left. Truffaut, Godard, Eustache, Pasolini but also more recently Assayas, Lvovsky, Kaurismäki, Bertolucci, Tsai Ming-liang, Bonello or Serra... an impressive filmography in which he has invented a new way of being in front of the camera, where everything is true and everything is fiction. So much so that one might almost have a doubt: does Jean-Pierre Léaud really exist off- screen? Or does he belong entirely to cinema?

在民族志和幻想之间，这部影片沉浸在梦想的空间、可见和不可见、物质、灵魂和影像之间。我们同智利南部的一户马普切人家庭共同进行生态思考，观察通过做梦产生的人类和非人类社会地图。

The unforgettable hero of Les quatre cents coups (The 400 Blows), Jean-Pierre Léaud made a spectacular entrance into the world of cinema at the age of 14. And to this day, it’s fair to say he’s never left. Truffaut, Godard, Eustache, Pasolini but also more recently Assayas, Lvovsky, Kaurismäki, Bertolucci, Tsai Ming-liang, Bonello or Serra... an impressive filmography in which he has invented a new way of being in front of the camera, where everything is true and everything is fiction. So much so that one might almost have a doubt: does Jean-Pierre Léaud really exist off- screen? Or does he belong entirely to cinema?

美国虽然只有几百年历史，但在这里发生过的重大事件让很多人们记忆犹新、印象深刻，那些曾经为和平而奋斗所流出的血和汗牢牢地烙在了人们的心中，记载在了史册里。其中就包括日本轰炸珍珠港事件。1941年日本海军的航空母舰舰载飞机和微型潜艇袭击珍珠港以及瓦胡岛上的飞机场引发了太平洋战争，最终将美国卷入第二次世界大战。