狩矢家に意外な居候が飛び込んできた。和美（前田亜季）のメル友でアメリカ副大統領の娘、キャサリン・ターナー（勝野雅奈恵）である。日本の文化を研究するためホームステイするのだという。澄江（山村紅葉）は大歓迎だが、狩矢警部（船越英一郎）は相談もされておらず複雑な心境だ。 　　ところで狩矢は化学繊維会社社長・田原雄一郎（三浦浩一）が、次期国会議員の候補者に名乗りを上げ選挙活動を活発にしながらも、その裏では暴力団とのつながりを強めていることが気になっていた。田原は元妻の千花（古村比呂）と共に画期的な化学繊維を開発して事業を広げたが、千花との離婚後、デザイナーの石野マリ子（高橋かおり）、モデルの水木理沙子（美元）、女優の多岐村みどり（小嶺麗奈）という愛人がおり、派手な私生活が取り沙汰されていた。狩矢の旧知の正義感の強いジャーナリスト、村松博也（山田辰夫）はそんな田原の不審な動静を探っていた。その村松が重要な話があると狩矢に伝えてきたにもかかわらず、姿を消した。そして数日後、松村の痛ましい他殺死体が発見され、狩矢は愕然とする。 　　胸騒ぎのする狩矢をよそに、田原の会社のブライダル・ファッションショーが華やかに開かれた。和美とキャサリンが会場に足を運ぶと、狩矢の部下の皆川悠子（雛形あきこ）の姿があった。そこに突然響く悲鳴。モデルの控え室で火災が発生し白煙が立ち込める。控え室では悠子の知り合いのモデル、水木理沙子が全身を炎に包まれており、理沙子は無惨にも焼死する。可燃性の高いドレスの素材にタバコの火が燃え移った事故のようにも考えられたが、狩矢には疑問が残った。

狩矢家に意外な居候が飛び込んできた。和美（前田亜季）のメル友でアメリカ副大統領の娘、キャサリン・ターナー（勝野雅奈恵）である。日本の文化を研究するためホームステイするのだという。澄江（山村紅葉）は大歓迎だが、狩矢警部（船越英一郎）は相談もされておらず複雑な心境だ。 　　ところで狩矢は化学繊維会社社長・田原雄一郎（三浦浩一）が、次期国会議員の候補者に名乗りを上げ選挙活動を活発にしながらも、その裏では暴力団とのつながりを強めていることが気になっていた。田原は元妻の千花（古村比呂）と共に画期的な化学繊維を開発して事業を広げたが、千花との離婚後、デザイナーの石野マリ子（高橋かおり）、モデルの水木理沙子（美元）、女優の多岐村みどり（小嶺麗奈）という愛人がおり、派手な私生活が取り沙汰されていた。狩矢の旧知の正義感の強いジャーナリスト、村松博也（山田辰夫）はそんな田原の不審な動静を探っていた。その村松が重要な話があると狩矢に伝えてきたにもかかわらず、姿を消した。そして数日後、松村の痛ましい他殺死体が発見され、狩矢は愕然とする。 　　胸騒ぎのする狩矢をよそに、田原の会社のブライダル・ファッションショーが華やかに開かれた。和美とキャサリンが会場に足を運ぶと、狩矢の部下の皆川悠子（雛形あきこ）の姿があった。そこに突然響く悲鳴。モデルの控え室で火災が発生し白煙が立ち込める。控え室では悠子の知り合いのモデル、水木理沙子が全身を炎に包まれており、理沙子は無惨にも焼死する。可燃性の高いドレスの素材にタバコの火が燃え移った事故のようにも考えられたが、狩矢には疑問が残った。

燃烧的爱

在一个美丽祥和的海岛上，有一群健康可爱的蔬菜，大家在萝卜村长的带领下，过着幸福而又快乐生活。可是神秘邪恶的基因博士在入侵了世上大部分地区后，将下一个目标瞄准了蔬菜家园，他派遣了一群变异动物去对付蔬菜们。阳光正义的小番番，善良可爱的洋葱美眉，无厘头爱恶作剧的萝卜特，脾气火爆的火辣辣，超级大吃货小胖豆……蔬菜们将使用各自神奇的技能，反抗动物们的入侵和破坏，保卫自己的家园。

Deep into Hell Week, a favored pledgee is torn between honoring his code of silence or standing up against the intensifying violence of underground hazing.

The story is about an unnamed detective, hired by a beautiful, alcoholic woman, to find clues related to the disappearance of her husband. In the process, the detective is given a map (a ruined one), supposedly to help him, but which turns out in the end to be more like a metaphor of the guidelines one should have in life. The impossibility of finding relevant clues to help him solve the mystery leads the main character to an existential crisis, which builds slowly from inside and finally puts him in the position of identifying himself with the man he was supposed to find. 　　The Man Without a Map (燃えつきた地図 Moetsukita chizu) is a 1968 Japanese film directed by Hiroshi Teshigahara and starring Shintaro Katsu. The screenplay was adapted by Kōbō Abe from his novel The Ruined Map. This was the fourth and final film collaboration between Teshigahara and Abe.

For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. 　　La Maison du mystère was followed by Mozhukhin's second and final solo directorial effort, the extraordinary Le brasier ardent (1923). Though Renoir cites this as the film which convinced him to become a director, few people understood Mozhukhin's tour de force blend of surrealism, Freud and dada, and Le brasier ardent was a commercial flop. It is directed with breathtaking boldness and a mastery of cinematic styles ranging in influence from Gance and Feuillade to the avant-garde. Le brasier ardent opens with a nightmare sequence that jumps out at the audience, beginning in hell and working itself up to a cathedral, all with Mozhukhin in different parts, from a demonic heretic at the stake to a bishop. The visionary Alexander Lochakoff designed, with Joseph-Louis Mundwiller (who later shot part of Gance's Napoléon [1927]) as cameraman. Mozhukhin's incandescent personality, shining out of those riveting eyes, acts as a match to his bravura directing, which includes astounding edits and the use of negative images. The audience is left dazzled by the audacity of his style, and mournful that a great career as director was cut short by an unappreciative public. 　　Finally, Casanova (Volkoff, 1927). I can think of no film where Venice is so gloriously shot, where the Carnival festivities of the late 18th century are so perfectly recreated, straight out of the paintings of Pietro Longhi. Full of comedy, and with Mozhukhin bounding through his scenes in the style of Douglas Fairbanks, 　　Ivan Mozhukhin in Casanova 　　Ivan Mozhukhin in Casanova 　　this is a gorgeous work, and though it lacks the technical bravura of, say, Le brasier ardent, it is a pleasure from beginning to end. The extraordinary restorations by Renée Lichtig (co-winner this year of the Jean Mitry Award) of both this and Michel Strogoff include their original hand-coloured sequences. The night scenes during Carnival, with fireworks exploding over the torch-lit gondolas, are scenes of wonder.

"Pigan brinner!" ("Maid on fire!") is a "modern silent short", shot in black/white 35 mm with the hand cranked camera Pathé, from 1914, (actually the same camera used by D.o.P. Julius Jaenzon for "Phantom Carriage") telling the story of a Maid that slaves in a Swedish family high-etc kitchen in the year of 2008, serving some twin brats, a hungry Nosferatu-teenager and a father "dying" in a cold. All tensed up, she suddenly starts to burn and SELFCOMBUST!... Maid on fire! is a torch in the Swedish debate about maids. Written by Suzanne Antonsson

该剧改编自长篇小说《新来的班主任》，是描写当过知青的老师和九十年代中学生生活的六集电视连续剧。剧中女主人公林老师是下乡的老三届知青，后任农场中学的语文老师，由于工作出色、被交换回省城的北方中学，任全校出名的落后班级的班主任，女儿林凤安排在母亲班中学习，正巧她当年与知青丈夫所生的儿子金龙也在该班。因而引出一连串在教书育人过程中的师生情、母子情、姐弟情及与前夫重逢的感人至深的动人故事。