A default CGI animated child is confronted with modern subjectivity and world coming of age issues, making animation a gloomy tool to subdue modern narrative feelings in favour of despair and micro-dosed hope. Animation based routines and easy-portraiture of desolation are strategically organised as a grim Dark Toon. ----- Contemporary movie making at its best is made by sequential IRL images, whose raw presence has become a pivotal element in the progressive affirmation of a saturated account of what reality means. Captured moving images have being progressively contaminated by post-production and CGI detailing making “movies” ever close to a pure engineering process. The advent of CGI imaging technologies directly flooded traditional filmmaking out of blockbuster revenues provided by studios animation productions, diluting purely digitally-achieved fantasies and transforming them in a chemically induced perfection filter applied to almost everything. With Fantasmagorie (1908) Èmile Cohl introduced animation as a wandering initiative, in which space browsing and encountering objects were the main task a protagonist was subject to. An innocuos stylized man that preceded, and in a way determined, pre-rendering structures of animated characters. Bébé Colère is the last investigation by Caroline Poggi and Jonathan Vinel of media structures in contemporary cinema. A default CGI animated child is confronted with modern subjectivity and world coming of age issues, making animation a gloomy tool to subdue modern narrative feelings in favour of despair and micro-dosed hope. Animation based routines and easy-portraiture of desolation are strategically organised as a grim Dark Toon.

这是一部感人至深、催人泪下但又最终令人倍感温馨的影片，讲述了一对夫妇努力想要孕育新生命的故事。 丽莎和斯蒂芬正经历着因失去孩子而带来的痛苦挣扎，而生活却继续在他们周围继续。然而，尽管面对悲伤和孤独的黑暗时刻，他们正带着强烈的希望、幽默和爱的心境努力克服困难，意识到彼此间关系的强大力量，这最终将使他们比以往任何时候都更加亲密。

北京电影学院2014届毕业联合作业。编导：张梦楚，摄影：钱禹澎、杜金穗，美术：朱晓东，录音：乌力吉，制片主任：李天然。 黑车司机不小心在路上撞伤一位带着婴儿的女人，惊慌之下他将婴儿抱走，然而回到家之后才发现不知该如何处理这个婴儿。而此时广播中又传来寻找婴儿的新闻，司机惊慌之下决定把婴儿抛弃，却又三番两次把婴儿捡了回来……

婴儿从哇哇落地那一刻起，整个世界便仿佛一个有待探索的宝藏，同时也是感官的游乐场。不论是学会辨认人脸的特征或是被各种声音逗得呵呵笑，婴儿无时无刻不在学习新知。Discovery频道推出系列《婴儿的成长》，继续带领观众探索婴儿奇妙的世界，以及他们从出生到两岁大的成长过程。每集一小时的节目中都将详尽介绍婴儿成长的重要领域：情感的发展、社会化过程与了解他人。 在每集节目中，观众将跟随着婴儿的发展过程，看他们如何将各种技巧逐渐变得熟练。节目中将探讨传统及最新的婴儿发展理论，而北美和欧洲的科学家则将进行突破性的实验，并且将他们的婴儿行为实验室公开由Discovery频道进行拍摄。 【蹒跚学步】To Walk 【认知思考】To Think 【牙牙学语】To Talk 【感情的启发】To Feel 【感情的归属】To Belong 【感情的交流】To Relate

在印度农村的一个火车站，一对兄弟目睹了一名贫困母亲的孩子被绑架。其中一位受道德责任的指引，说服另一位去帮助这位母亲，并加入了寻找孩子的危险调查。

有着不堪回首的过往。这起令人发指的事件恰巧被摄影师拉曼·班赛尔目睹。高坦·班赛尔是一个富有的都市青年，来车站接弟弟拉曼。兄弟之间的关系本就微妙，在两人卷入裘帕的寻子之路后，他们的情谊更是受到重重考验。三人被迫在黑暗的社会底层摸爬滚打，在这过程中，他们的坚韧品格、彼此间的信任，乃至人性，都受到了考验。在惊心动魄的行动和求生斗争中，母性、阶级主义、排外主义以及对体制的幻灭等更深层次的主题逐渐显现。

An Over-Incubated Baby (AKA: The Wonderful Baby Incubator) is a 1901 British short silent comedy film, directed by Walter R. Booth, featuring a woman who gets an unpleasant surprise after placing her baby in Professor Bakem's baby incubator for 12 months growth in one hour. The film is, "one of the most original of the trick films made by W.R. Booth and R.W. Paul in 1901," and according to Michael Brooke of BFI Screenonline, "one of the less elaborate films made by Booth and Paul that year," "though the concept itself is so imaginative that it arguably didn't need any more than basic jump-cut transformations."

一个贫穷部落的妇女Jhumpa Mahato，她五个月大的婴儿被盗。高塔姆和拉曼两兄弟目睹了绑架事件，当他们卷入复杂的调查时，他们试图帮助她。

本片讲述了新时期的农民生活。 主人公牛根顺有“家族遗传病”——谢顶，他奶奶已90岁高龄，要求牛根顺找一个头发多的女朋友，恰恰牛根顺喜欢的对象头发并不多，为了满足奶奶的愿望，他千方百计给女朋友生发，并结识了卖生发水的老倪。最后，牛根顺女朋友的头发没长出来，却长出了一大把胡子。 该片以消费者向奸商“寻仇”为主线，引出了一系列啼笑皆非却又温暖人心的故事，表现了初出茅庐的“小人物”和功成名就的“大人物”共通的心理困境。“寻仇”最终变成了“寻亲”，从“仇人”变成“亲人”，电影用无厘头的喜剧方式讲述了一个温暖的“寻仇”故事。

在东南亚某国，男主巴图（吴樾饰）与妻子塔娜（董璇 饰）意外遭遇从事人口贩卖勾当的犯罪集团首脑卡放（古斌 饰），塔娜随后被卡放盯上被绑走。妻子的离奇失踪让巴图心急如麻，于是与好友老焦（杨迪饰）一同寻找私家侦探颂猜（崔志佳 饰）的帮助。三人通过细微的线索不断深入，遇到重重的危机，愤怒的巴图化身孤胆英雄，为了心爱的妻子勇闯虎穴龙潭......