The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

Simon's life is troubled by images of a crime which happened in his family a hundred years ago. While traveling in south France, he finds the landscape familiar. That's when he meets Catherine and falls in love. But her lover comes back and his strong personality attracts her again.

“Sir, the judge told me today I was a bastard. What was my sin?” 　　Heavy snow falls from the sky as heavily-armed guards patrol the walls of an Iranian centre of correction and rehabilitation. Inside, the girls are waiting at the food counter. Among them are underage mothers and others who are married. All of them ended up here after becoming involved in crime. Drug dealing, assault, murder. Yet instead of cold-blooded criminals we discover friendly, warm young people who laugh, sing and cry together. Their close bonds have been forged by the troubled past they share. We learn of their fears of having to return to the lives they once left behind. The documental camera is intimate but respectful, the resulting portraits are full of dignity. Written by Berlinale 2016

This adventure film features a treasure hunter trying to transport a cache of gold belonging to a tribal queen from the Amazon jungle. The main focus is made on his attempt to move the heavy gold from the dangerous and exotic jungle, and this "golden rush" can cost the protagonist’s life. Golden Prize of V MIFF (1967). 　　A treasure hunter tries to transport a cache of gold belonging to a tribal queen from the Amazon jungle in this routine adventure. Customs of the local natives and the hero's life in the city are thrown in, but the main focus is his attempt to move the heavy gold from the dangerous and exotic jungle.

“聚焦”是波士顿环球报的一个专栏，罗比·罗宾森（迈克尔·基顿饰）是"聚焦"栏目的编辑，栏目拥有一个独立的调查小组，组员包括萨夏·菲弗（瑞秋·麦克亚当斯饰），迈克尔（马克·鲁弗洛饰），马特·卡罗尔（布莱恩·达西·詹姆斯饰）。当马蒂·巴伦（列维·施瑞博尔饰）接替了环球报的总编辑一职，他开始指派罗宾森和他的团队，紧跟一桩被雪藏已久的案件，一个天主教牧师性骚扰教区里的孩子。虽然最开始他们以为这只是个小任务，但很快他们就发现，其背后还隐藏一系列事件，涉及了上百名受害者，而教会已经私下赔偿了受害者，并派人掩盖了这些罪行。随着调查的越发深入，他们发现这一阴谋的更多证据，不仅仅是神职人员，就在波士顿以外，甚至全世界，都在上演着这种暴行。罗宾森和他的团队遭遇到了当地官员们的掣肘。教会内的，教会外的势力都在向他们施压，想让他们放弃这个案件。

故事讲述《波士顿环球报》“聚焦”报道组的编辑和记者，披露美国天主教试图掩盖神父性侵儿童的丑闻。

《聚焦》深度对话中国电影，爱电影人的交流平台。

RECONCILIATION is a groundbreaking, provocative story about an estranged father and son struggling to overcome the heartbreaking consequences of their past. Grant Taylor (Eric Nenninger) has been troubled by intense childhood memories ever since his wife, Sara (Chelsey Crisp), gave him the exciting news..."You are going to be a dad!" As fatherhood nears, Grant privately wrestles with his embarrassment and anger toward his own father. His memories come to a head when Sara receives a call informing them that Grant's dad, Jeff (Jack Maxwell), is terminally ill and his last wish is to see his son. With Sara's encouragement, Grant reluctantly goes to see the man he disowned at his 10th birthday party, when he found out his father was gay. At the hospice, father and son confront the past as they come face to face for the first time in 16 years. Will Grant forgive his father for abandoning their family...

1945年波兰人民军在原德国集中营中关押德国战俘与阶级敌人，一名新参军的看守爱上了关押在其中的波兰女孩，受其影响最终走向了新生