当电影人马克得知，下一部作品若不包含犯罪、性和大明星就拉不到投资时，他决定拿起摄像机，以自家为阵地拍摄电影。两个前来更换篱笆的英国建筑工人暂时移除了他和邻居之间的屏障，随后，一个巴基斯坦女邻居入镜，善良的哥伦比亚家政被街旁斯洛文尼亚流浪汉的困境打动，五组人在客厅热闹地交谈起来。然而，接下来发展的事却越过了善意的边界，也大大出乎了所有人的意料。影片以看似随意的纪录视频准确地浓缩和描绘了英国当今的移民现状和阶级冲突，并在结尾才揭露了令人深思的讽刺内核。

当电影人马克得知，下一部作品若不包含犯罪、性和大明星就拉不到投资时，他决定拿起摄像机，以自家为阵地拍摄电影。两个前来更换篱笆的英国建筑工人暂时移除了他和邻居之间的屏障，随后，一个巴基斯坦女邻居入镜，善良的哥伦比亚家政被街旁斯洛文尼亚流浪汉的困境打动，五组人在客厅热闹地交谈起来。然而，接下来发展的事却越过了善意的边界，也大大出乎了所有人的意料。影片以看似随意的纪录视频准确地浓缩和描绘了英国当今的移民现状和阶级冲突，并在结尾才揭露了令人深思的讽刺内核。

【主宰】一群投稿者在一张地图上找不到的池塘里钓鱼，突然出现的究竟是灵魂还是某种生物？！ 　　【家暴】一名男子持续记录妻子对他的暴力行为，《封印影像》工作人员追踪到的，是一场禁忌的仪式！ 　　【爱车】投稿者所拥有的汽车中，发生了一连串怪异现象。无法用常理解释的惊悚结局到底是什么？ 　　【创作者 后篇】自称“创作者”的男子的最终命运让人毛骨悚然！《封印影像》工作人员勇敢打开禁忌之门，揭开更深的恐惧！

以影像记录时代变迁，以影像传递青年观点。由芒果TV大芒计划和中国传媒大学举办的“芒种?年创作季”旨在挖掘青年影像创作者的无限潜力，为敢想敢创的青年人提供更广阔的发展平台。

“新时代·新影像”中外联合创作计划聚焦“新时代中国故事”，面向国内外广泛征集选题，发掘并孵化鲜活生动的中国主题纪实内容。

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。

《安德烈·卢布廖夫》的影像记忆：解析这部塔可夫斯基史诗巨作的哲学深度与艺术本源，探寻圣像画大师对塔可夫斯基创作的精神指引。 　　影片制作运用了电影博物馆馆藏编年史与珍贵照片、导演私人档案中发黄的分镜草图，更首度曝光尘封半世纪的导演剪辑版未公开片段——那些被苏联审查机构剪去的苦难凝视与飞鸟隐喻，终得以在胶卷齿孔间重见天光。