Anticipation, ou l'Amour en l'an 2000 est un court métrage réalisé par Jean-Luc Godard en 1966 et est sorti en 1967. Il a été tourné en noir en blanc, à l'exception de la scène finale. Il est l'un des épisodes du film Le Plus Vieux Métier du monde qui traite de la prostitution à travers les âges et qui est composé de six épisodes en tout. Anticipation, ou l'Amour en l'an 2000 est le dernier épisode.

当一切的一切已经过去了七十年，当一切繁花似锦已经如尘烟般消散，我们唯一能记得的，就是在那个风雨飘摇战火连连的时代，有着一段凄美动人的爱情故事…… 　　上海滩商界大亨沈牧之突然离奇死亡，留下巨额的遗产和扑朔迷离的宝藏传说，多方势力剑拨弩张，让一场纷争似乎在所难免…… 　　失踪三年的大少爷沈书豪忽然回归，力挽狂澜，帮有名无实的妻子尚婉婷洗脱了嫌疑，粉碎了堂兄沈悦篡夺家产的阴谋，隐忍多年的沈悦不甘屈居人下，风流倜傥的外表难掩他野心勃勃的内心。然而，阻挡沈悦的并不是真正的沈书豪，他的名字叫周定一。 　　世界上最遥远的距离不是生与死，而是周定一站在曾经的爱人何木兰面前，何木兰却以为他是沈书豪…… 　　世界上最漫长的磨难，不是玄奘西行，而是父亲的遗言是让柔弱的何木兰为他报仇，与沈书豪为敌……种种折磨让芙蓉般的何木兰变得心狠手辣，不择手段。她爱的人离她远去，而深爱着她的沈悦，她却一直没有珍惜。 　　世界上最让人寂寞的不是对影自怜，而是沈悦一直陪在何木兰的身边，无数次地叩响她的心门，何木兰却对他冷若冰霜。 　　世界上最可悲的不是爱人失踪，而是一切谜题解开后，何木兰却发现心中的爱人已经恋上了别的女人……她就是尚婉婷。 　　尚婉婷嫁入沈家，只为豪门遗产，却被沈书豪的处事魅力所折服，被沈书豪的用情之深所打动，渐渐爱上了他。 　　世界上最残酷的爱情，不是生离死别，而是为了所爱的人，背叛自己亲日涉黑的家族，改变自己贪婪狠毒的本性，这一点尚婉婷认准了，就不曾回头…… 　　世事变幻，沈悦为爱奋不顾身，无怨无悔；沈书豪最终平定黑帮，扫荡日寇，在一二八事变之时找到了宝藏。看似一切尘埃落地，可是爱情在历史和人性的动荡面前却仍然让人不可捉摸，重拾自我的沈书豪能否放下曾经恋恋不舍的何木兰……为爱执着的尚婉婷能否跟沈书豪修成正果……一切敬请期待。

1977年，康雯以她的青春美貌将同样生机勃勃的魏东、魏宁兄弟和一些男青年吸引在了自己身边。康雯的父亲老康鼓励、帮助魏东他们学习，参加刚刚恢复的高考，从而成为对国家有用的人。怀着憧憬，青年们开始了命运的冲刺。三十年过去，每个人的命运都发生了巨变。但围绕金笛，魏东和他的儿子魏晓东，康雯和她的儿子阿标，又奇迹般地走到了一起。下一代之间在生活出现矛盾，但经过一系列事情，最终他们收获了亲情和爱情。

曾执导《雪白血红》等剧的导演王强，正在酝酿将叶兆言的小说《1937年的爱情》改编成电视剧，目前正在做剧本的案头工作。

A long overdue documentary that tells the story of 2000AD, the unsung cult hero of the comics industry. This film will celebrate and pay respect to the comic and explore its importance and influence on contemporary pop culture.

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

Seb 要向女儿 Emma 宣布一个痛苦的消息——他和她母亲即将离婚。无奈之下，他只能说出真相：他喜欢男人。这消息对 Emma 而言如晴天霹雳，质疑与困惑瞬间涌上心头。为了让女儿理解自己，Seb 带着她回到了 2000 年。就在那一年，一场刻骨铭心的青涩恋爱，彻底改变了他的人生轨迹。

当 Seb 向女儿 Emma 宣布他和她母亲将要离婚这一痛苦的消息时，他不得不道出真相：他喜欢男人。这个消息对 Emma 来说犹如晴天霹雳，质疑与不解接踵而至。为了让女儿能够理解，他带着女儿回到了 2000 年，那一年，一段刻骨铭心的青涩恋情，彻底改变了他的人生。

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought. 　　Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead. 　　Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences. 　　The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer. 　　Jean Cocteau is dead, long live Cocteau! 　　(James S. Williams)