Baltimore native Matthew VanDyke’s lifelong dream was to make an adventure film. So in 2007, he embarks on a “crash course in manhood,” a solo journey across North Africa and the Middle East with only his video camera and a motorbike. But travelling through the Libyan Desert puts an unexpected twist on his plans, as he joins forces with the rebels to oust Moammar Gadhafi. He’s soon captured and placed in solitary confinement for six months—not an easy situation for a young, middle-class man who’s struggled all his life with obsessive-compulsive disorder. Oscar-nominated director Marshall Curry finds a gripping entry into VanDyke’s perspective. Not afraid to ask hard questions, Curry uncovers a compelling and intriguing story of a boy who went searching to become a man and ended up a freedom fighter. Kathleen Mullen

江离苦修五百年成为人皇，也是当世唯一大乘期修士，却因为天梯断裂无法成仙，屡次尝试飞升失败后，他突然觉醒了本该给炼气期新手的逆袭系统，这个迟来了五百年的系统发布了一系列令人哭笑不得的新手任务，于是，江离只好一边吐槽系统延迟，一边完成任务，解决一系列事件，他穿梭于鸣钟世界、封墨世界等异世，探寻隐藏在系统背后的成仙天梯断裂的真相。

江离苦修五百年成为人皇，也是当世唯一大乘期修士，却因为天梯断裂无法成仙，屡次尝试飞升失败后，他突然觉醒了本该给炼气期新手的逆袭系统，这个迟来了五百年的系统发布了一系列令人哭笑不得的新手任务，于是，江离只好一边吐槽系统延迟，一边完成任务，解决一系列事件，他穿梭于鸣钟世界、封墨世界等异世，探寻隐藏在系统背后的成仙天梯断裂的真相。

Generations is a 30 minute16mm film about mentoring and passing on the tradition of personal experimental film making. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer filmmaker. Shooting during the last days of Astroland at Coney Island, New York, the filmmakers find that the inevitable fact of aging echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely separately both picture and sound, the filmmakers join their films in the middle when they have finished making a true generational and experimental experiment.

In collaboration with director Terrence Malick and his coworkers, this film shows the power of Pixel 3's advanced camera. It is a celebration of humanity's innate sense of curiosity and wonder.

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。