居伊·德波，男，法国思想家、导演，情境主义代表人物。居伊·德波（Guy Debord）全部6部电影，德波生前曾禁止他的影片发行和传播，死后他的电影才得以流出，2001年威尼斯和03年山形纪录片电影节都做过回顾展。

居伊·德波，男，法国思想家、导演，情境主义代表人物。居伊·德波（Guy Debord）全部6部电影，德波生前曾禁止他的影片发行和传播，死后他的电影才得以流出，2001年威尼斯和03年山形纪录片电影节都做过回顾展。

一个科学家分离出了人类的邪恶血清，却让自己的宝贝漂亮女儿和巨大的远古人类骨骼都成了大恶魔

一个科学家分离出了人类的邪恶血清，却让自己的宝贝漂亮女儿和巨大的远古人类骨骼都成了大恶魔。

There is nothing better than a brilliant, good-looking teacher to make teenagers love poetry. And there is no better way to understand it than by trying to write it. To do this well you need to be sincere and preferably in love, although not necessarily with your teacher. And it is precisely in the words of a teenager that today poetry regains all its gentle power to reveal feelings.

There is nothing better than a brilliant, good-looking teacher to make teenagers love poetry. And there is no better way to understand it than by trying to write it. To do this well you need to be sincere and preferably in love, although not necessarily with your teacher. And it is precisely in the words of a teenager that today poetry regains all its gentle power to reveal feelings.

是她，让他从一个对机器人格斗大赛毫无概念的人成为人人仰慕的业界黑马。他用第三百个冠军和她换一个开始的机会。十五岁的天才少年吴白对艾情的惊鸿一瞥…

是她，让他从一个对机器人格斗大赛毫无概念的人成为人人仰慕的业界黑马。他用第三百个冠军和她换一个开始的机会。十五岁的天才少年吴白对艾情的惊鸿一瞥让其立志成为跟女神姐姐艾情一样的冠军选手，可以与其并肩。十年后，吴白（胡一天 饰）成为站在巅峰的职业选手，不仅实现了自己的职业梦想，也拥有了真正站在艾情（李一桐 饰）身边的资格，吴白带领K&K俱乐部在国内设立分部，正式回国代表中国竞争 世界冠军。艾情最大的遗憾就是战队在最巅峰的时候因为自己和队长王浩恋情波折而解散，没能和战友们一起为中国拿到一个世界冠军大家就纷纷退役了。吴白知道艾情心中的遗憾，频频开导鼓励并暗中帮助艾情做好一名优秀的战队领队、提升战队实力冲向世界大赛，吴白就这样一步一步向艾情走近。伴随比赛的层层晋级，吴白带领的K&K战队与艾情带领的SP战队，成为世界冠军赛的最大竞争对手，吴白终于可以与艾情并肩而战，经历所有的失败和荣耀。

This stylish chronicle of Morocco’s 1970s revolutionary cinema reconstitutes a vital history nearly lost to the forces of censorship and repression. Through film and newsreel fragments and a jaunty mix of printed matter, Ali Essafi recovers the impassioned output of a generation whose postcolonial flourishing was extinguished by the authoritarian crackdown of King Hassan II. Filmmaker Mostafa Derkaoui, an ongoing subject of Essafi’s research-based practice, appears in a raspy narration, joining a jazz score hip to the era’s transnational liberation movements. Shown in excerpts, Derkaoui’s legendary feature About Some Meaningless Events was created in a moment of buoyant experimentation cut bitterly short, resulting in the director being imprisoned for 11 years. That Essafi’s collective portrait can be seen alongside the earlier film’s recent restoration (and this year’s posthumous publication of Ahmed Bouanani’s landmark historiography of Moroccan cinema) highlights the tenacity of a cultural heritage across generations.

This stylish chronicle of Morocco’s 1970s revolutionary cinema reconstitutes a vital history nearly lost to the forces of censorship and repression. Through film and newsreel fragments and a jaunty mix of printed matter, Ali Essafi recovers the impassioned output of a generation whose postcolonial flourishing was extinguished by the authoritarian crackdown of King Hassan II. Filmmaker Mostafa Derkaoui, an ongoing subject of Essafi’s research-based practice, appears in a raspy narration, joining a jazz score hip to the era’s transnational liberation movements. Shown in excerpts, Derkaoui’s legendary feature About Some Meaningless Events was created in a moment of buoyant experimentation cut bitterly short, resulting in the director being imprisoned for 11 years. That Essafi’s collective portrait can be seen alongside the earlier film’s recent restoration (and this year’s posthumous publication of Ahmed Bouanani’s landmark historiography of Moroccan cinema) highlights the tenacity of a cultural heritage across generations.