What does it mean to come from somewhere? This film focuses on California’s Native core.

“这是正手击球时握拍的方式。只需将手臂向后移动，左肩朝向球，左脚向前迈出，击球。”

The final film by filmmaker Marlon Riggs jumps into the middle of explosive debates over Black identity. BLACK IS... BLACK AIN'T is a fi lm every African American should see, ponder and discuss. White Americans have always stereotyped African Americans. But the rigid definitions of "Blackness" that African Americans impose on each other, Riggs claims, have also been devastating. Is there an essential Black identity? Is there a litmus test defining the real Black man and true Black woman? Riggs uses his grandmother's gumbo as a metaphor for the rich diversity of Black identities. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of "Blackness." Riggs mixes performances by choreographer Bill T. Jones and poet Essex Hemphill with commentary by noted cultural critics Angela Davis, bell hooks, Cornel West, Michele Wallace, Barbara Smith and Maulana Karenga to create a flavorful stew of personal testimony, music, and history.

影片背景设置在1943年。乔布与洛萨是一对年迈的犹太夫妇，他们收养了一名非犹太人男孩，并且试图用他们的财富和学识骗过纳粹，逃避对犹太人的迫害。 　　这片是1984年第54届奥斯卡外语片匈牙利参赛作品，并获得最终提名（当届获奖者为《芬妮与亚历山大》）。

港圈太子爷周京池，与兄弟立下赌约，要在短短一个月内，将平凡无奇的草根女孩沈菀收入囊中。为了验证沈菀对自己的情感是否纯粹，周京池竟精心策划了一场谎言，伪装成身患脑瘤的绝症患者，企图以此试探沈菀的真心。沈菀得知“男友”病情后，不离不弃，展现出了超乎寻常的坚韧与深情。她不顾一切，一天之内接下八份零工，只为能筹集到为周京池治病的费用。然而，命运弄人，沈菀在KTV辛苦打工的夜晚，竟意外撞见了周京池在包房内大张旗鼓地为自己庆祝生日，还向在场的兄弟们炫耀自己编造的贫穷与病患谎言。那一刻，沈菀独自站在昏暗的角落，目睹这一切，心中如遭雷击，震惊、失望与愤怒交织成一张复杂的情绪网，将她紧紧包裹。

隐婚后为了备孕，我被总裁老公江子安养在公司，成了最清闲的行政，也变成他秘书胡可儿的眼中钉。拉我陪客户时，造我黄谣，说我坐台女出身，甚至给我的酒里下药，让我陪酒醉客户李总回家欢好。我不从，她命人擒住我，想要强行灌酒“你一个公司最底层的臭虫，不就想靠张媚脸勾搭有钱人上位吗？今天我成全你！”我微微一笑打给老公“今晚想让我回家，就来李总床上接我。”谁料，等江子安到场，另一个惊天大阴谋却又浮出水面。

1982 年 6 月的西西里岛，当意大利人梦想赢得世界杯时，两位少年梦想着毫无恐惧地书写自己的爱情故事。 　　17 岁的詹尼 (Gianni) 因为是同志而受到霸凌，但当他偶然遇到了 16 岁迷人而天真的尼诺 (Nino)时，詹尼的生活发生了变化。 　　当他们和尼诺的父亲一起放烟花时，深厚的友情却悄然地转化为了爱情。 　　当他们的关系被家人发现时，两个青少年被强行分开，但他们准备好战胜一切，并坚信他们的爱可以战胜死亡。

1982 年 6 月的西西里岛，当意大利人梦想赢得世界杯时，两位少年梦想着毫无恐惧地书写自己的爱情故事。 　　17 岁的詹尼 (Gianni) 因为是同志而受到霸凌，但当他偶然遇到了 16 岁迷人而天真的尼诺 (Nino)时，詹尼的生活发生了变化。 　　当他们和尼诺的父亲一起放烟花时，深厚的友情却悄然地转化为了爱情。 　　当他们的关系被家人发现时，两个青少年被强行分开，但他们准备好战胜一切，并坚信他们的爱可以战胜死亡。

Juste un Mouvement (‘Just a Movement’) is Vincent Meessen’s free take on La Chinoise, the 1967 film by Jean-Luc Godard, and a “film in progress of making itself” in Dakar. It is conceived as a re-editing operation of Godard’s film, reallocating its roles and characters, and updating its plot. Although not anymore alive, Omar Blondin Diop, the only actual Maoist student in the original, now becomes the key character. 　　Juste un Mouvement harnesses the “methodology for practical works” and the “lessons of things”, Godard’s preferred pedagogical and aesthetic methods. The lesson is no longer the singular lesson given by Omar to his comrades in La Chinoise, but those, plural, offered here: first, a lesson in Mandarin about the cinema of La Chinoise. Secondly, tai-chi and kung fu lessons, both martial art and a philosophy of life. And last but not least, the lesson learned from the dead-ends of the past by the family and friends of Omar. 　　Shot exclusively with non-professional actors and including Omar Blondin Diop’s brothers and friends, everyone in this film plays themselves: a filmmaker (Mamadou Khouma Gueye), a rapper and militant (Malal Almamy Tall aka Fou Malade), a poet (Thierno Sall), a Chinese labourer (Fi Lu), a Shaolin master (Doudou Fall), a Senegalese intellectual (Felwine Sarr), an actor (Madiaw Njay), and also the Minister of Culture of Senegal and the Vice President of the People’s Republic of China visiting the Museum of Black Civilization, a project devised by the former Senegalese President Senghor in the mid-sixties and recently made possible thanks to Chinese financing.

1.KISS 　　2.男は兄女は妹 　　3.女になりたい 　　4.せつなくて 　　5.告白 　　6.悪魔のように 　　7.もう二人だけ 　　8.復讐 　　9.レイプ 　　10.結ばれた夜 　　11.さよなら