毕生的朋友们在悉尼棕榈滩聚会

正在奋斗中的汤姆和美丽动人的杰瑞杰了婚，但是在结婚之后，他们却发现他们的生活逐渐陷入了困境，因为他们几乎没有钱生活。就在他们即将被赶出公寓的时候，杰瑞遇到了一个正在附近转悠的富商，他正想在附近寻找一套房子。他给了杰瑞七百块钱，叫她开始新的生活，汤姆听了以后，不相信杰瑞的故事，于是开始争吵起来。杰瑞气不过，就想结束这段婚姻，然后到棕榈岛上去与富翁结婚。但是汤姆后来意识到自己的不对，他跟着坐上了另一班火车，尾随而至，想要劝说杰瑞回心转意。他们时来运转，碰上了一个百万富翁，汤姆被聘请作了他的设计师。

You may think life’s a beach for the affluent residents of Florida’s wealthiest county. But along these pristine palm tree–lined streets, there’s plenty of shade. Experience the impressive prosperity and ever-changing power dynamics in Members Only: Palm Beach, coming to Netflix this December. Set within the exclusive enclaves of Palm Beach County, the eight-episode first season will follow a group of women navigating the unspoken rules, inherited traditions, and high-stakes hierarchies of America’s most rarefied social circles. In this manicured world of privilege and private clubs, reputations are built over brunch and alliances shift over champagne. While wealth is ubiquitous, power, influence, and access are the true currency.

一对年轻的夫妻刚刚搬到加州旅游圣地棕榈泉的社区，当他们发现邻居们个个都是玩很大的玩咖时，他们之间的感情也逐渐受到了考验……

A man uncovers a dangerous web of schemes and deceit when he accepts the presidency of a TV company.

扬·汉森有一天收到一封信，署名是保罗的人声称是他的父亲。于是带着疑问他来到了库克群岛。保罗在弥留之际告诉扬他才是他的生父，并把整个岛屿留给了他。扬因此结识了安妮。安妮对保罗的感情就像父亲一样。她来到这座岛之后是保罗给她工作和栖身之所，因此她心存感激。不明真相的扬打算卖掉岛屿结束一切。后来却发现保罗确实是他的生父。但迫于岛上的债务危机，他不得不找养父斐迪南帮忙。斐迪南却把岛屿卖给了菲尔。而菲尔一直想开发这座岛因此来谋利。扬为了阻止这件事的发生努力寻找保罗提到过的“宝藏”。最终他用父亲的专利捍卫了整个岛屿也赢得了安妮的芳心。蔚蓝的天空，碧绿的海水以及可爱的考拉，如诗如画。一切都宛若天堂一般。

This screening puts into practice a radical Godardian proposition: the screening of his Made in USA (1966) and 2 ou 3 choses que je sais d’elle (Two or Three Things I Know About Her, 1966) as a single work, with their reels and narratives intertwined. Godard’s cinema was steeped in literature from the outset. One of his favourite modern authors was William Faulkner, whose work is a recurrent touchstone in his critical writings and films. He referenced Faulkner’s The Wild Palms prominently in À bout de souffle (Breathless, 1960) and toyed in the 1960s with the idea of adapting it. He also nursed the dream of making a musical in the United States with Anna Karina, Gene Kelly and Faulkner himself, but the project foundered following the latter’s death in 1962. The Wild Palms famously comprises two distinct alternating narrative strands – a tragic love story (‘The Wild Palms’), and the tale of an unnamed convict (‘Old Man’) – that illuminate one another through counterpoint throughout. The novel had a significant impact on French cinema following its publication in France in 1952, Agnès Varda borrowing its experimental structure for her pioneering first feature, La Pointe Courte (1955). In 1967, having set aside the idea of adapting The Wild Palms, Godard proposed instead projecting his two very different most recent features, which he had shot back-to-back for separate producers, as an integrated work. As Richard Roud reported, what Godard wanted was to have them shown together, ‘first a reel of Made in USA, then a reel of Two or Three Things I Know About Her, then a reel of Made in USA, etc., just as Faulkner mixed two stories in The Wild Palms. That would be his adaptation of the novel.’* This principle of weaving together and alternating between large self-contained blocks deeply influenced Godard’s practice in this period, notably in his emblematically titled One Plus One (1968) and unfinished projects such as Cub(us)a and One American Movie. It also fed into his experimentation with the juxtaposition of film reels in his film history lectures in Montreal in 1978 and Rotterdam in 1980–81.

Terminal Island, or the swan song of the Angeleno palm tree. The amazing views of the capital of California, one of the few places in the world blessed by perfect climate, are not immune to the scourges of our times, pollution, overdevelopment, and the overwhelming fears of unforeseeable disasters – thus, a sermon delivered in a totally empty futuristic infrastructure. But the ecological dread does not prevent the filmmaker from editing an expressive juxtaposition of intriguing glimpses of Los Angeles and unusual, at times disturbing panoramic shots of a city that is more complex than its name.

南希 （ 布蕾克·莱弗利 饰）的母亲刚刚去世，为让自己的心情从郁闷中解脱出来，她只身来到了一处偏远的海岸冲浪，阳光、沙滩和巨浪一切都非常美妙。但是因为意外发生，直到一个大浪扑来，水墙中隐约出现了一只鲨鱼的巨影，遭到攻击后，导致南希被困在了一个礁石上，在她和海岸之间虽然没有太远的距离，但一条大白鲨阻挡了她的求生之路。在这个绝望的关头，她必须通过自己的努力才能找到出路 。

建于70年代的顺德左滩“甘竹滩发电站”是全国唯一一个洪潮水力发电站，老余和渔业村大部分村民一样，当时参加了发电站的建设并见证了发电站几十年的兴衰，老余的儿子顺风童年就在渔村里和同村的阿德和美欣两姐弟一起快乐地度过。长大后的顺风为了在大城市里找到一个属于自己的位置，饱尝了工作上和生活上的重重压抑，他发现唯一能找到心灵的属地就是回到童年时的小渔村，虽然外面每天都发生着巨大的变化，但小渔村里的亲情、乡情和友情几十年如一日，历久常新；面对城市的繁华和渔村的单调，面对生活的现实和心灵的归属，顺风终将如何抉择…