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。

毕生的朋友们在悉尼棕榈滩聚会

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.

电影由三个相互关联的小故事组成。 国王（托比·琼斯 Toby Jones 饰）最宠爱的除了蛮横娇纵的公主维奥拉（蓓蓓·卡芙 Bebe Cave 饰）外，就是他的宠物跳蚤了，让所有人都没有想到的是，小小的跳蚤，竟然长成了绵羊的大小。 女王（萨尔玛·海耶克 Sa lma Hayek 饰）常年被不孕之病困扰，国王用自己的生命换来了海兽的心脏给女王吃，如此便可药到病除，哪知道不仅仅是女王怀孕了，为女王烹饪心脏的侍女也怀孕了，两人于同一时间生下了孩子。 国王爱上了在城堡下面唱歌的女子，他并不知道的是，这位女子的真身其实是一位丑陋的老巫婆，而她还有这一个双生姐妹。国王邀请她们其中的一位同自己共度良宵，哪知道被卷入了一场动乱之中。

影片由“女王”（The Queen）、“两个老妇人”（The Two Old Women）及“跳蚤”（The Flea）多个单元组成。改编自17世纪由吉姆巴地斯达·巴西耳创作出版…

《故事的故事》就是一部欧洲魔幻超现实主义大片版的《聊斋志异》。影片由3个故事组成，里面充满了牛鬼蛇神，似乎又蕴含着一些人生哲学和为人处世的道理。…

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.