拉达是一个温柔顺从的家庭主妇，但她的丈夫安德烈不欣赏她。有一天，拉达决定改变自己，成为一个疯婆娘。罗曼是一位裁缝，也是《如何征服任何女人》一书的作者。为了出版这本书，小说必须以自己的例子向出版商证明，他的书里征服女性的方法是有效的……

有关青少年在那不勒斯的一个罕见的电影。的主角-一个男孩名为维托11或12岁，和他的朋友。他们挂在城市的街道，街头流浪儿童的典型。这部电影是相当暴力。男孩必须竭尽全力生存。盗窃-本身。但除此之外，他们不得不出售自己的身体，和成年男子，从事卖淫活动，并最终他们甚至去... By google（Good job anyway...）

Two film directors and a writer are in Portugal for an expedition through various images, moments from the history of Western allegorical representation. The writer is Jean-Louis Schefer, and this tale encapsulates his life’s mission. What is the connection between the danses macabres of the dying days of the Middle Ages, Hieronymus Bosch’ Temptation of St Anthony, a landscape by Fragonard and the prehistoric rock engravings of Foz-Côa? There is no connection, Schefer admits from the start, save for the arbitrariness of taste. No scholarly connection, but rather a relationship, lively and fleeting, a friendly conversation resumed at each stopping point of this journey reflecting on pictures and what they retain of history. Schefer talks a lot; his language is fluent, clear and focused. His two friends say little, listening attentively, reviving the conversation from time to time. Does this make it a monologue in disguise? Yes, because this film peopled by friendship conceals the portrait of a thinker and writer as only cinema can: an intellect in action, a way of being alone or in company, leading the philosophical conversation, an entire life a ected by pictures, compact in front of a few figurative objects. And no, because the conversation is woven between Schefer’s words, Rita Azevedo Gomes’ dramatisation and Pierre Léon’s editing, and the film, without another word, unfurls another idea that amplifies, discusses and surpasses the writer’s thought. Passion for painting haunts the composition of every shot, which it frames like a picture in a museum or a Portuguese landscape. The editing punctuates the journey of a micro-history of cinema in playful contrast to the erudite discourse. As Schefer says of danses macabres, “It moves, it’s liquid and solid at the same time, it moves forward towards nothing, into nothing. It’s history, carrying o the living”. (C.N.)

本片讲述了三个周而复始的故事： 1）一名男子站在两把并排而置的椅子旁，正在练习飞翔。从最初的空手跳跃，到接下来三步不同大小翅膀的助力，再回归最初的状态，如是往复。2）一个男人手执皮鞭站在左边，右边蹲坐着一条温良的狗。随着皮鞭的起落，小狗作出各种各样的动作，而在这一过程中，人与狗的主仆位置似乎也在发生着转变。忽左忽右，不便的只有起起落落的鞭子。3）仿佛承载着历史的人，手里拿着一支铅笔，他凭空绘出房子的模样，谁知却无法走进去。于是只好涂掉笔迹，重新画起，将自己圈入房子。当想出去的时候，又无法摆脱线条的束缚。只能涂掉线条，又是一次周而复始……

暂无剧情简介

Bobby is constantly in his car, driving back and forth on the autobahn linking Vienna and Salzburg. Other people travel the same route. Bobby picks them up to help with the petrol money and talks to them along the way: the soldier questioning what it means to fight; the supermarket trainee going to visit family; the academic researching the road’s history; the queer woman about to get married. Many different paths, different accents and different stories, most of them true. Bobby listens, but also talks about himself, about his youth, about aging, about his friend in a coma in Salzburg who is the reason for all his trips. Mountains and forests pass by outside, broken up by junctions, barriers and bridges; the quality of light shifts along with the seasons. Neither a documentary, nor entirely fiction, London is a quietly political portrait of today’s Europe via its in-between spaces and those passing through them. Even in these strange times, anonymity and kindness can still go hand in hand.

在这部关于经济、社会和政治对未来可能发展的观点的纪录片所插入的虚构情节中，电影制作人将乌托邦式的未来描绘成一片陌生之地。来自不同文化和社会圈子的六位公众人物就未来这一关乎时间、人类和世界的话题展开了思考。

一个麻烦缠身的前海军陆战队队员开始了最后一个任务，就是要报复四个抢了他唯一美丽东西的人。