本片是现代讽刺喜剧片。几个不同职业的行业精英在一起聚会。这天夜里，参议员恐吓教授，让他参加非美活动委员会；棒球运动员烦恼，因为自己妻子的不忠；科学家和女演员谈论相对论，后来又想到广岛原子弹爆炸是由他的理论导致的，十分沮丧；女演员被参议员当成妓女，挨打后流产……

爱丽丝（伊莎贝尔·于佩尔 Isabelle Huppert 饰）是一名性工作者，奔放的个性和优越的外表让她成为了客人中的头牌，她自己也很享受这种放荡不羁的生活。然而，任何的日子过久了都会令人感到乏味，渐渐的，爱丽丝不再热爱自己的事业了，内心麻木而又空洞的她决定向心理咨询师寻求帮助。 　　爱丽丝预约的是一位名叫萨米耶（伯利·兰内尔 Bouli Lanners 饰）的心理医生，谁知道，萨米耶也正在为自己的职业而感到烦恼，他发现自己再也无法忍受他的患者们的那些滔滔不绝的乏味故事了。在这个节骨眼上，爱丽丝出现了，两人的身份神奇的发生了逆转，爱丽丝开始用自己特殊的方法，替萨米耶治疗他的职业病。

爱丽丝（伊莎贝尔·于佩尔 Isabelle Huppert 饰）是一名性工作者，奔放的个性和优越的外表让她成为了客人中的头牌，她自己也很享受这种放荡不羁的生活。然而，任何的日子过久了都会令人感到乏味，渐渐的，爱丽丝不再热爱自己的事业了，内心麻木而又空洞的她决定向心理咨询师寻求帮助。 　　爱丽丝预约的是一位名叫萨米耶（伯利·兰内尔 Bouli Lanners 饰）的心理医生，谁知道，萨米耶也正在为自己的职业而感到烦恼，他发现自己再也无法忍受他的患者们的那些滔滔不绝的乏味故事了。在这个节骨眼上，爱丽丝出现了，两人的身份神奇的发生了逆转，爱丽丝开始用自己特殊的方法，替萨米耶治疗他的职业病。

本片是现代讽刺喜剧片。几个不同职业的行业精英在一起聚会。这天夜里，参议员恐吓教授，让他参加非美活动委员会；棒球运动员烦恼，因为自己妻子的不忠；科学家和女演员谈论相对论，后来又想到广岛原子弹爆炸是由他的理论导致的，十分沮丧；女演员被参议员当成妓女，挨打后流产……

从赤城少管所释出的少女莉香（大信田礼子 饰），返回新宿拜会了仅有一面之缘的修车行老板村木铁五郎（伴淳三郎 饰），也是其狱友阿莫（片山由美子 饰）的父亲。阿莫结交不良学生浜田，欠下黑帮大矢组巨额债务。大矢组谋划借机将村木的修车行据为己有。 　　暂居车行的莉香邂逅另外几名狱友，得知其中玛丽（贺川雪绘 饰）生活最为艰辛，其男友荒井圭一（中谷一郎 饰）多年前为大矢组行刺敌对首领而入狱，出狱后被组织抛弃，饱受疾病困苦折磨。大矢组绑架莉香和阿莫，为村木解救，怀恨在心的大矢组首领找到圭一，要求他为阻止刺杀曾经名震江湖的村木……

在卡萨布兰卡港口的街道和受欢迎的酒吧周围，一群电影制片人与人们讨论他们对新兴的摩洛哥国家电影院的期望和期望。当一个心怀不满的工人意外杀死他的上司时，他们的审讯转移了注意力，并开始调查谋杀的背景和动机。《德奎克》的核心是对电影（和艺术）在社会、纪录片和现实中的作用的审问，以及对即将诞生的国家电影的紧迫性的构成。这一独特的电影体验被认为是在摩洛哥对言论自由的高度镇压之时，激进的电影制片人、演员、音乐家、诗人和记者的独立和集体努力，并由几位当代画家的画作销售提供资金。这部电影于1975年首次在巴黎放映，但立即受到审查，禁止展览和出口。直到2016年在Filmoteca de Catalunya的档案中发现了一张底片，并将其复原，人们才将其遗忘。影片完成45年后，将最终上映。 　　Around the port’s streets and popular bars of Casablanca, a group of filmmakers conduct discussions with people about their expectations of, and aspirations for, the emerging Moroccan national cinema. When a disgruntled worker kills his superior accidentally, their inquest shifts focus, and they begin to probe the context and motives of the killing. At the heart of De quelques événements sans signification is an interrogation on the role of cinema (and art) in society, documentary and the Real, and what constitutes an urgency for a national cinema that is being born. This unique filmic experience was conceived as an independent and collective effort of militant filmmakers, actors, musicians, poets and journalists at a time of heightened repression on freedom of expression in Morocco and was funded by the sale of paintings by several contemporary painters. The film was first screened in Paris in 1975 but was immediately taxed with censorship and forbidden from exhibition and export. It was forgotten until a negative print was found in the archives of the Filmoteca de Catalunya in 2016 and restored there. 45 years after its completion, the film will finally be released.

一位年轻的导演从片场上消失了，他的朋友试图找到他。

Farhad, a respected math teacher, is engaged to the mother of one of his pupils. But rather than embrace his new father figure, the angry young student spends his days riding around Tehran on a motorcycle with his rebellious friend, refusing to study—or even sit—for his big final exam.

沈念前世因无条件溺爱侄子，饱尝家人冷漠与伤害，最终悲惨离世。重获新生，她誓要改变命运。这一世，她决定收起无原则的溺爱，对侄子的行为放任自流，不再让自己重蹈覆辙。她要活出自我，守护自己的幸福，不再让任何人轻易伤害到自己。

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.