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

故事围绕上世纪50年代美国一名犹太裔男青年马科斯·梅思纳的苦闷与彷徨展开。

马库斯·梅斯纳是一名性格内向、学习成绩优异的大学新生，他为终于能摆脱因为担心他安全而唠叨不断的父母感到轻松。马库斯在图书馆学习时邂逅了美丽的女学生奥利维亚·赫顿，两人很快便陷入爱河。因与室友发生口角，马库斯搬到学校另外一间宿舍，但却因此被校长训导了一番。校长认为马库斯存在社交问题，并试图就学校中的很多问题说服他屈从，但马库斯坚持己见，与校长据理力争，突发阑尾炎住进医院。入院后的马库斯因为奥利维亚的频频探望感到十分快乐幸福，并畅想着与她未来的生活。听闻他生病的消息，马库斯的母亲匆匆赶来，在发现奥利维亚手腕上因自杀导致的伤痕后要求二人分手。奥利维亚消失了，马库斯找到校长才得知有精神病史的奥利维亚再次精神崩溃被送去医院治疗。面对父母神经质般的过度担忧、学校教条的教育方式、爱人的离开，年轻的马库斯内心压抑的情绪爆发，他走向了硝烟弥漫的战场。 　　影片改编自菲利普·罗斯2008年出版的同名小说。

《愤怒》的故事背景是竞争激烈的时尚业，发生在曼哈顿闹市一家时装商店的谋杀案牵扯出这个行业中千丝万缕的人际关系和恩怨情仇，似乎其中的每一个人都是时尚的名义下光鲜的统领者，每一个人又都是时尚的虚荣中隐身的受害者。

柯克·道格拉斯是美国政府的高阶特务，他跑到中东视察一个研究超感应能力的计划，其中有其子安德鲁·史提芬斯在内。不料他的同僚约翰·卡萨维兹竟偷偷雇用恐怖分子对研究中心突袭，以为将柯克杀死，从此拥有安德鲁等一群具有超能力的青少年为他服务。但柯克死里逃生回到美国，一方面找寻儿子的下落，另一方面透过亦在作研究的女生埃米·欧文作绝地大反攻。

《愤怒》的故事背景是竞争激烈的时尚业，发生在曼哈顿闹市一家时装商店的谋杀案牵扯出这个行业中千丝万缕的人际关系和恩怨情仇，似乎其中的每一个人都是时尚的名义下光鲜的统领者，每一个人又都是时尚的虚荣中隐身的受害者。

自由区检察官决定对圣诞节嗜血杀人狂执行死刑。 但是意外的是他居然逃脱了，并再次展开了杀戮。

在一个独裁政府挑动的战争而社会惨遭蹂躏的背景下，20岁的Theo在夜间秘密出动，在墙上书写自己对渴望自由的信息。一天晚上，他遇见了Elisa，她也在从事着同样的活动。通过他们的共同交往，逐渐发展起一段奇异的恋爱故事……