An international homage to Méliès in 1988.

The background of this picture represents a scene along the beautiful river Seine in Paris. A gentleman enters, and taking a blackboard from the side of the picture, he draws on it a sketch of a novelist. Then, standing in the centre, he causes the living features of his sketch to appear in the place of his own, which is utterly devoid of whiskers. The change is made so mysteriously that the eye cannot notice it until one sees quite another person in the place of the first. Again another sketch is shown on the board, this one being that of a miser; then an English cockney; a comic character; a French policeman, and last of all, the grinning visage of Mephistopheles. It is almost impossible to give this film a more definite description; suffice it to say that it is something entirely new in motion pictures and is sure to please.

《伟大的梅里爱》（Le Grand Méliès，乔治·弗朗叙，1953年|25分钟|35毫米|黑白|有声）以纪录与虚构交织的手法讲述了另外一电影先驱乔治·梅里爱的故事。与卢米埃尔不同，梅里爱发现了电影具有表现魔幻效果的可能性，通过亲身实践为电影艺术打开了想象力的大门。本片不仅选用梅里爱的许多电影作品片段，以便阐释梅里爱的电影魔术和特技的诞生过程，而且邀请到了梅里爱的儿子在影片中扮演梅里爱，以便更好地讲述这位伟大的创造者是如何被竞争对手挤垮的。影片结尾，导演借助梅里爱夫人前往丈夫生前落魄时开的店铺卖花献给长眠在贝尔·拉雪兹公墓的丈夫这个场景，向电影史上这位伟大的革新者表达了敬意。本片导演乔治·弗朗叙（Georges Franju，1912—1987）年轻时曾在保险公司工作，当过面条加工厂的包装工和剧院的道具工，在遇到亨利·朗格卢瓦之后涉足电影事业，与之成为法国电影资料馆的主要创始人。1938年，他开始担任国际电影资料馆联合会执行秘书。1945年至1953年，他在担任法国科学电影学院秘书长期间开始拍片，成为当时法国著名的纪录电影学派“三十人集团”（详见后文）的重要人物，主要作品有《禽兽之血》（1949）、《途经洛林》（1950）、《荣军院》（1952）、《伟大的梅里爱》（1953）、《居里夫妇》（1953）。他从1958年开始转拍故事片，著名作品有《头撞墙》（1959）、《没有面孔的眼睛》（1960）等。弗朗叙的电影作品，在风格方面继承诗意现实主义传统，秉承超现实主义精神；在内容方面致力于揭露机构社会的虚伪，寻求个人的自由和梦想的自由。

France, 1890. Inventor Louis Le Prince vanishes under mysterious circumstances right after he created a device that, five years later, the Lumière Brothers will call The Cinematographer. What if they had stolen Le Prince’s idea and wacked him afterwards? The mystery remains for more than a century, until Luigi Cozzi picks up a strange book called “The Roaming Universe” in the horror museum of his pal Dario Argento. The origin of this enigmatic book troubles him. This particular science-fiction novel would have materialized during a spiritual session in modern day Rome. At the session, an old woman revealed that the key to all these mysteries comes from 1895, a time during which the Lumière Brothers had denied lending their camera to Georges Méliès for an obscure movie called "A Trip to the moon". Not only does this film actually exist, but it raises a more intriguing question. Is our world the only one, or are there parallel universes ?

男子爱上了一个控制狂，热恋期他都甘心付出，直到另一个女生出现，他才知道原来爱情可以这么自由。男子在梦中许了一个“换女朋友”的愿望，而愿望居然成真了！这是幸福的开始？还是恐怖的到来？

男子爱上了一个控制狂，热恋期他都甘心付出，直到另一个女生出现，他才知道原来爱情可以这么自由。男子在梦中许了一个“换女朋友”的愿望，而愿望居然成真了！这是幸福的开始？还是恐怖的到来？

A look back at the life, style and influences of the famed filmmaker Georges Méliès and an examination of his role in the story of "Hugo."

Harshu(12), a rebel Indian adolescent is coming of age by questioning and understanding the dynamics of relationships in a middle class family. Every episode sees Harshu, whose voice over breaks the fourth wall, understanding a particular relationship; be that with his mother, father, siblings, friends or his school crush Vidhya. In finale, he realizes the importance of whole family.

利兹（詹妮弗·比尔斯 Jennifer Beals 饰）一直以来都饱受精神疾病的困扰，前不久才因为精神崩溃而被送进了医院，这会儿刚刚出院不久。除了精神痛苦外，利兹和儿子以及丈夫之间的关系也很紧张。儿子正值叛逆期，全身上下都笼罩着生人勿进的气场，而丈夫呢，一直以做音乐人为梦想的他已经很久没有收入了。 在这令利兹焦头烂额的节骨眼上，一个名为卡特琳（凯瑟琳·麦克纳马拉 Katherine McNamara 饰）的女孩敲响了利兹家的门，卡特琳声称自己是利兹丈夫和曾经的情人所生的私生女，在误打误撞之中，利兹不得不收留了这个女孩。随着时间的推移，利兹开始怀疑，这个女孩到底想要干嘛。