故事发生在位于马赛的一座港口里，年轻的马吕斯（拉斐尔·佩松纳兹 Raphaël Personnaz 饰）和父亲凯撒（丹尼尔·奥图 Daniel Auteuil 饰）一起经营着一家酒吧。虽然人在酒吧里，但马吕斯的心却无时不刻的被浩瀚无际的大海所深深吸引，他最大的梦想就是能够登上一艘开往愿望的船，逃离这个令他感到窒息的港口。 　　范尼（维克图瓦·贝雷齐 Victoire Bélézy 饰）是在港口卖贝克的小贩，她一直默默的爱慕着马吕斯。当年长的帕尼斯（让-皮埃尔·达鲁山 Jean-Pierre Darroussin 饰）出现在范尼的身边，对她展开热烈追求时，马吕斯才察觉了内心里对于范尼的感情。最终，为了范尼，马吕斯放弃了自己的远洋梦。

故事发生在位于马赛的一座港口里，年轻的马吕斯（拉斐尔·佩松纳兹 Raphaël Personnaz 饰）和父亲凯撒（丹尼尔·奥图 Daniel Auteuil 饰）一起经营着一家酒吧。虽然人在酒吧里，但马吕斯的心却无时不刻的被浩瀚无际的大海所深深吸引，他最大的梦想就是能够登上一艘开往愿望的船，逃离这个令他感到窒息的港口。 　　范尼（维克图瓦·贝雷齐 Victoire Bélézy 饰）是在港口卖贝克的小贩，她一直默默的爱慕着马吕斯。当年长的帕尼斯（让-皮埃尔·达鲁山 Jean-Pierre Darroussin 饰）出现在范尼的身边，对她展开热烈追求时，马吕斯才察觉了内心里对于范尼的感情。最终，为了范尼，马吕斯放弃了自己的远洋梦。

Olga Puchine created this character in the early 1970s, and in Norway there are at least 4 books available through the library system. 　　 　　Jeremy is the stupidest bear in the world, he's a woodland dandy who's basically into music theatre with endless desire for fame and his groundbreaking theory of 2+2=5. 　　 　　Jeremy was a stuffed bear, moved using stop-animotion. Jeremy had friends Mr. Raven (who was a bird) and Hector (who has a rat). Each show lasted 15 minutes - Jeremy went on adventures around the world and to outer space. 　　 　　 　　In Norway Colargol lives in Eventyrskogen (in English: Eventyr= Fairytale, skogen= Forest) 　　 　　Voices: In Norway Rigmor Lange was Colargol. She even won "Spelemansprisen", a music award for the Colargol record in 1974. The English voices: Colin Jeavons, Charles Collingwood, Gwenllian Owen, Percy Edwards 　　 　　杰利米,是只爱唱歌跳舞的小熊,提着一个什么都能变的小箱子周游世界,还爬到了月亮上. 　　 　　她总是在唱 　　我是小熊杰里米 　　聪明能干又伶俐 　　会唱小调DO RE MI 　　我就是小熊杰里米 　　鸟王听了我的歌 　　十分高兴对我说 　　送你一只小魔哨 　　吹起哨来 嘀~ 嘀~ 嘀 　　我就是小熊杰里米 (记忆有缺失) 　　 　　这部挪威的COLARGOL《小熊杰里米》，从1984年开始停播，到了1996的时候，几乎所有人已经对它遗忘了。那时候，任何网站都找不到它的图片和歌曲。可是，你知道吗？它的作曲甚至得过“Spelemansprisen”的音乐奖。 　　 　　小熊杰里米，从遥远的挪威来到中国，虽然，无论片内片外，都经历了太多我们知道或者不知道的挫折。但是，我们永远不能忘记，杰里米的开朗向上的精神。 　　 　　BARNABY THE BEAR 　　 　　Barnaby the Bear's my name, 　　never call me Jack or James, 　　I will sing my way to fame, 　　Barnaby the Bear's my name. 　　Birds taught me to sing, 　　when they took me to their king, 　　first I had to fly, 　　in the sky so high, so high, so high, so high so high. So 　　if you want to sing this way, 　　think of what you'd like to say, 　　add a tune and you will see, 　　just how easy it can be. 　　 　　Treacle pudding, fish and chips, 　　fizzy drinks and liquorice, 　　flowers, rivers, sand and sea, 　　snowflakes and the stars are free, 　　la la etc...............So, 　　Barnaby the Bear's my name, 　　never call me Jack or James, 　　I will sing my way to fame, 　　Barnaby the Bear's my name

Olga Puchine created this character in the early 1970s, and in Norway there are at least 4 books available through the library system. 　　 　　Jeremy is the stupidest bear in the world, he's a woodland dandy who's basically into music theatre with endless desire for fame and his groundbreaking theory of 2+2=5. 　　 　　Jeremy was a stuffed bear, moved using stop-animotion. Jeremy had friends Mr. Raven (who was a bird) and Hector (who has a rat). Each show lasted 15 minutes - Jeremy went on adventures around the world and to outer space. 　　 　　 　　In Norway Colargol lives in Eventyrskogen (in English: Eventyr= Fairytale, skogen= Forest) 　　 　　Voices: In Norway Rigmor Lange was Colargol. She even won "Spelemansprisen", a music award for the Colargol record in 1974. The English voices: Colin Jeavons, Charles Collingwood, Gwenllian Owen, Percy Edwards 　　 　　杰利米,是只爱唱歌跳舞的小熊,提着一个什么都能变的小箱子周游世界,还爬到了月亮上. 　　 　　她总是在唱 　　我是小熊杰里米 　　聪明能干又伶俐 　　会唱小调DO RE MI 　　我就是小熊杰里米 　　鸟王听了我的歌 　　十分高兴对我说 　　送你一只小魔哨 　　吹起哨来 嘀~ 嘀~ 嘀 　　我就是小熊杰里米 (记忆有缺失) 　　 　　这部挪威的COLARGOL《小熊杰里米》，从1984年开始停播，到了1996的时候，几乎所有人已经对它遗忘了。那时候，任何网站都找不到它的图片和歌曲。可是，你知道吗？它的作曲甚至得过“Spelemansprisen”的音乐奖。 　　 　　小熊杰里米，从遥远的挪威来到中国，虽然，无论片内片外，都经历了太多我们知道或者不知道的挫折。但是，我们永远不能忘记，杰里米的开朗向上的精神。 　　 　　BARNABY THE BEAR 　　 　　Barnaby the Bear's my name, 　　never call me Jack or James, 　　I will sing my way to fame, 　　Barnaby the Bear's my name. 　　Birds taught me to sing, 　　when they took me to their king, 　　first I had to fly, 　　in the sky so high, so high, so high, so high so high. So 　　if you want to sing this way, 　　think of what you'd like to say, 　　add a tune and you will see, 　　just how easy it can be. 　　 　　Treacle pudding, fish and chips, 　　fizzy drinks and liquorice, 　　flowers, rivers, sand and sea, 　　snowflakes and the stars are free, 　　la la etc...............So, 　　Barnaby the Bear's my name, 　　never call me Jack or James, 　　I will sing my way to fame, 　　Barnaby the Bear's my name

Prada 2017春夏系列时装发布会通过一个特别的电影装置展映了《回顾向前》片段，这是Miuccia Prada与美国导演、作家David O. Russell合作的多平台短片。凭借《美国骗局》（American Hustle）、《斗士》（The Fighter）、《乌云背后的幸福线》（Silver Linings Playbook）声名大噪的David O. Russell，这次将《回顾向前》设想为一首“电影诗歌”：多位演员身处于一个带有未来感的超现实默片梦境，在不断切换的场景里复述演出相同的剧情。

Prada 2017春夏系列时装发布会通过一个特别的电影装置展映了《回顾向前》片段，这是Miuccia Prada与美国导演、作家David O. Russell合作的多平台短片。凭借《美国骗局》（American Hustle）、《斗士》（The Fighter）、《乌云背后的幸福线》（Silver Linings Playbook）声名大噪的David O. Russell，这次将《回顾向前》设想为一首“电影诗歌”：多位演员身处于一个带有未来感的超现实默片梦境，在不断切换的场景里复述演出相同的剧情。

(Paris) On April 24 [2006] the Georges Pompidou Center here began a retrospective devoted to a man synonymous with cinema itself: Jean-Luc Godard. Now 75, this legendary filmmaker has been reinventing motion pictures for over half a century. From his 1955 documentary Operátion Béton to the world premiere of Vrai Faux Passeport, a video essay commissioned by the museum, the four-month program includes more than 200 films by and about the arch modernist of the seventh art. 　　For the Godard cult, the retrospective is epochal; the mother ship of mise-en-scène has landed. But the movies are only foreplay to the main seduction. Travel(s) in Utopia, Jean-Luc Godard 1946-2006, In Search of a Lost Theorem is the unwieldy title of an unruly installation that sprawls throughout the large south gallery of the museum. Designed and executed by Mr. Godard, the show opened amid much controversy on May 11 and continues until Aug. 14. 　　He is clearly having his moment — or maybe not so clearly. Speculation and anxiety gathered in the months leading up to the opening as it became known that relations between Mr. Godard and the museum had soured and that the project would not be realized. The nature of what, if anything, would take its place remained an enigma until the moment of its unveiling... 　　Talk had long circulated of an ambitious project to be designed by Mr. Godard in conjunction with the retrospective. Conceived in collaboration with Dominique Païni, the former director of cultural development at the Pompidou Center, it was to have been called Collage(s) de France and to have functioned as a kind of elaborate, three-dimensional montage of Mr. Godard's methods and motifs. 　　The visitor would proceed through a series of thematic rooms. Myth would give way to Humanity and The Camera, pass through The Unconscious and end with Murder and The Tomb. Giant reproductions of paintings (by Delacroix, Goya, Nicolas de Staël) would adorn the walls alongside printed quotations and blown-up movie stills. Films and videos would flicker on televisions, screens and even a video iPod. Sculptural and environmental objects would allude to Freud, the Middle East and cinematic technologies. 　　Collage(s) de France was to have carried the subtitle Archaeology of the Cinema, an apt phrase given that all that remains of this fabled creature are its bones. Detailed scale models of the original conception are scattered throughout Travel(s), an exhibition about an exhibition — and thus quintessential Godard... 　　Before Yesterday is where you find the intriguing maquettes of Collage(s) de France, propped on wooden crates or piled in stacks, their meticulously designed chambers buzzing with electric motors and tiny lights. They are the depositary, the sketch, the graveyard of Mr. Godard's original conception, the score of a symphony forever unperformed. 　　Perhaps the most peculiar aspect of this "failed" installation is that everything Mr. Godard had wished to say is being said. Collage(s) de France has been realized, albeit as a ghost that haunts Travel(s) in Utopia. The entire exhibition functions as a kind of conceptual filmstrip for which the viewer is the light source and the cinema is entirely inside the mind. 　　-- Nathan Lee, The New York Times (quoted by the KG uploader, Odietamo, on his post). 　　Godard and Miéville do a walk-through of the maquette, with Miéville (wo)manning the camera and Godard pointing at things and describing them. (Written by the KG uploader, Odietamo, on his post). 　　And, for more infos, see : http://sites.google.com/site/dossierjeanlucgodard/3-informations-pratiques/debut-de-chronologie-pratique

(Paris) On April 24 [2006] the Georges Pompidou Center here began a retrospective devoted to a man synonymous with cinema itself: Jean-Luc Godard. Now 75, this legendary filmmaker has been reinventing motion pictures for over half a century. From his 1955 documentary Operátion Béton to the world premiere of Vrai Faux Passeport, a video essay commissioned by the museum, the four-month program includes more than 200 films by and about the arch modernist of the seventh art. 　　For the Godard cult, the retrospective is epochal; the mother ship of mise-en-scène has landed. But the movies are only foreplay to the main seduction. Travel(s) in Utopia, Jean-Luc Godard 1946-2006, In Search of a Lost Theorem is the unwieldy title of an unruly installation that sprawls throughout the large south gallery of the museum. Designed and executed by Mr. Godard, the show opened amid much controversy on May 11 and continues until Aug. 14. 　　He is clearly having his moment — or maybe not so clearly. Speculation and anxiety gathered in the months leading up to the opening as it became known that relations between Mr. Godard and the museum had soured and that the project would not be realized. The nature of what, if anything, would take its place remained an enigma until the moment of its unveiling... 　　Talk had long circulated of an ambitious project to be designed by Mr. Godard in conjunction with the retrospective. Conceived in collaboration with Dominique Païni, the former director of cultural development at the Pompidou Center, it was to have been called Collage(s) de France and to have functioned as a kind of elaborate, three-dimensional montage of Mr. Godard's methods and motifs. 　　The visitor would proceed through a series of thematic rooms. Myth would give way to Humanity and The Camera, pass through The Unconscious and end with Murder and The Tomb. Giant reproductions of paintings (by Delacroix, Goya, Nicolas de Staël) would adorn the walls alongside printed quotations and blown-up movie stills. Films and videos would flicker on televisions, screens and even a video iPod. Sculptural and environmental objects would allude to Freud, the Middle East and cinematic technologies. 　　Collage(s) de France was to have carried the subtitle Archaeology of the Cinema, an apt phrase given that all that remains of this fabled creature are its bones. Detailed scale models of the original conception are scattered throughout Travel(s), an exhibition about an exhibition — and thus quintessential Godard... 　　Before Yesterday is where you find the intriguing maquettes of Collage(s) de France, propped on wooden crates or piled in stacks, their meticulously designed chambers buzzing with electric motors and tiny lights. They are the depositary, the sketch, the graveyard of Mr. Godard's original conception, the score of a symphony forever unperformed. 　　Perhaps the most peculiar aspect of this "failed" installation is that everything Mr. Godard had wished to say is being said. Collage(s) de France has been realized, albeit as a ghost that haunts Travel(s) in Utopia. The entire exhibition functions as a kind of conceptual filmstrip for which the viewer is the light source and the cinema is entirely inside the mind. 　　-- Nathan Lee, The New York Times (quoted by the KG uploader, Odietamo, on his post). 　　Godard and Miéville do a walk-through of the maquette, with Miéville (wo)manning the camera and Godard pointing at things and describing them. (Written by the KG uploader, Odietamo, on his post). 　　And, for more infos, see : http://sites.google.com/site/dossierjeanlucgodard/3-informations-pratiques/debut-de-chronologie-pratique

从不幸婚姻中出逃的中年女人，跟随年轻恋人前往海岛拍摄申研作品集，在恋人陈设的装置中扮演她的母亲......