A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

男主因就业诈骗而不得不为了谋生而暂时加入一家专门清理犯罪现场的清洁公司，而入职后的一次清洁工作却意外引出了其背后的就业诈骗团伙。

Light on Earth will examine the phenomena of so-called bioluminescence.

In 2007, Juliette Binoche and Akram Khan paused their careers to co-create In-I, a daring performance toured worldwide. Today, Juliette Binoche revisits that inspiring journey. Through unseen footage, she reflects, as a filmmaker, on creation, the risks it entails, and the personal transformation it brings.

上世纪90年代，被村民认作灾星的郝暖阳替奶奶魏桂芬筹钱看病，被姑妈郝梅珊带去城里，给下肢瘫痪的季清晚做陪读。季家总管冯欢暗地苛待暖阳，只有季清晚对暖阳好。魏桂芬得知暖阳失踪，尽全力也要去城里找孙子，郝梅珊却骗魏桂芬暖阳已死!魏桂芬不信，坚持去找。另一面，冯欢也骗暖阳他奶奶病死了。可怜的祖孙俩被设计，多次错过。 暖阳与季清晚建立了深厚友谊。自从暖阳来到季家，死气沉沉的季家逐渐焕发生机，季氏生意上的危机也

上世纪90年代，被村民认作灾星的郝暖阳替奶奶魏桂芬筹钱看病，被姑妈郝梅珊带去城里，给下肢瘫痪的季清晚做陪读。季家总管冯欢暗地苛待暖阳，只有季清晚对暖阳好。魏桂芬得知暖阳失踪，尽全力也要去城里找孙子，郝梅珊却骗魏桂芬暖阳已死!魏桂芬不信，坚持去找。另一面，冯欢也骗暖阳他奶奶病死了。可怜的祖孙俩被设计，多次错过。 暖阳与季清晚建立了深厚友谊。自从暖阳来到季家，死气沉沉的季家逐渐焕发生机，季氏生意上的危机也

伊莎贝尔（茱丽叶毕诺许饰演）是一位离过婚的巴黎艺术家，希望真爱降临，却总是在爱与不爱之间犹豫，在与每一个男人的爱情拉扯的同时，她也发掘自身对情感与慾望的悸动。上一秒在跟银行秃头男缠绵，下一秒又对帅气的音乐家动心；男人不坏她还不爱，越是对她漫不在乎，她越对他倍加呵护。迷失在这恋爱丛林裡的伊莎贝尔，是否能如愿找到穿透黑暗的那一缕阳光呢？