Waldemar Januszczak explores the impact of Mary Magdalene's myth on art and artists. All saints in art are inventions, but no saint in art has been invented quite as furiously as Mary Magdalene. For a thousand years, artists have been throwing themselves at the task of describing her and telling her story, from Caravaggio to Cezanne, Rubens to Rembrandt, Titian to van Gogh. Her identity has evolved from being the close follower of Jesus who was the first witness to his resurrection, to one of a prostitute and sinner who escaped from persecution in the Holy Land by fleeing across the Mediterranean to wind up living in a cave as a hermit in the south of France, enjoying ecstatic experiences with Christ.

公元一世纪的圣地，一个年轻女子离开了她的小渔村和传统家庭，加入了一场激进的新社会运动。它的带头人是一个迷人的领袖，拿撒勒的耶稣，他承诺世界正在改变。玛利亚正寻求新的生存方式。玛利亚的精神之旅让她成为故事的重心，她将来到耶路撒冷，直面耶稣的命运，并找寻自己的位置。

马利亚追踪了一个陷入通奸丑闻的女人的生活，另一个因为滥交而被拒绝和忽视，第三个因为可耻的状况而被回避，还有一个被社会抛弃的寡妇，为失去唯一的儿子而悲痛。

“Maria” 重新塑造了《巴黎最后的探戈》女主角玛丽亚·施奈德的演艺生涯和悲剧人生。《正发生》中的新星安娜玛丽亚·瓦托洛梅饰演施奈德，而马特·狄龙则饰演与她搭档的马龙·白兰度。本片在一定程度上追踪了贝纳尔多·贝托鲁奇1972年杰作的争议性制作和痛苦后果——这一里程碑式的作品使施奈德一夜成名的同时将她锁定在一个她永远无法逃脱的形象中。这部电影也与贝托鲁奇相呼应，导演帕吕的职业生涯是在《戏梦巴黎》的片场开始的。

作为法国电影界的神秘人物，科列娃（Koleva）拍摄过巴黎的方方面面，撰写过关于马克思的文章，还与塞尔日·达内（Serge Daney）等人物有过交往。这部人物特写试图揭开她激进、诗意且充满电影魅力的世界。

在韩国、日本和菲律宾，有许多从事不同工作、有着各自故事的女性。这部电影聚焦于那些被称为家庭主妇、性工作者、派遣工、移民劳工、慰安妇、无家可归者等的女性。镜头跟踪记录她们的日常生活。这些女性彼此从未谋面，她们的生活看起来截然不同……

影片根据同名小说改编。1943年，处于纳粹占领下的华沙，塔德乌什在一家和德国人合作的船务公司上班，该公司主要负责收取犹太人的巨额财产，并安排他们逃离波兰。塔德乌什与波兰姑娘玛丽亚相恋。有一天，他跟着警察利卡到被捕的犹太人中寻找愿意上交财产的人，警察利卡看中了犹太女孩莎拉。利卡承诺，只要莎拉做他的情妇，就不把她交给德国人，为了保命，莎拉只好答应。玛丽亚得知塔德乌什工作的性质后，十分反感，还痛恨利卡的行径，于是想尽办法帮助莎拉和其他犹太人摆脱死亡威胁。然而，事与愿违，莎拉最终还是被德军杀害，玛丽亚也因帮助犹太人而被捕。

Maria, an enigmatic young drifter, takes over the job of piloting a tiny ferry in a small secluded village after the mysterious death of the former ferryman, and one night gives a ride to a wounded man. Later, when Death comes to claim his life, she tries to save him by engaging the Grim Reaper in a delirious dance of doom. Can true love triumph in the face of certain destiny?

This dark psychological thriller draws us slowly but surely into Maria's strange world. Tension mounts as she is buffeted by interactions with her abusive husband, demanding father, and meek paramour. This housewife, who initially appears outwardly unassuming and unremarkable, is shown to possess an inner landscape of the mind which is twisted and scarred. Techniques of German Expressionist cinema gradually give us insight into her psyche. Why does she write letter after letter to herself, stashing them in a living room cabinet? Secret after secret is gradually revealed, until the chilling and disturbing conclusion.