阿纳文（Anawin）是一位英俊的商人，他想赢得时尚杂志女编辑明特拉（Mintra）的芳心。为此，他乔装成园丁到她家中工作，并尽力不被识破。渐渐地，明特拉爱上了他。然而，当她发现他的真实身份后，问题接踵而至。现在，他将竭尽全力重新赢得她的信任，让她原谅自己。这个……

阿纳文是一位帅气的商人，他想赢得时尚杂志女编辑明特拉的芳心。于是，他乔装成园丁进入她家中工作，并努力不被识破。渐渐地，明特拉爱上了他。然而，当她发现阿纳文的真实身份后，问题接踵而至。如今，阿纳文将竭尽全力重新赢得她的信任，让她原谅自己。这……

林晚棠在婚礼当天重新审视感情与未来，得到父母的理解与支持。她依法厘清经济往来，专注事业，在朋友陪伴下重拾从容与自信。此后，她发起公益法律援助项目，帮助更多人了解权利、守护选择，也以成熟清醒的态度迎接崭新生活。

林晚棠在婚礼当天重新审视感情与未来，得到父母的理解与支持。她依法厘清经济往来，专注事业，在朋友陪伴下重拾从容与自信。此后，她发起公益法律援助项目，帮助更多人了解权利、守护选择，也以成熟清醒的态度迎接崭新生活。

一对年轻的夫妻刚刚搬到加州旅游圣地棕榈泉的社区，当他们发现邻居们个个都是玩很大的玩咖时，他们之间的感情也逐渐受到了考验……

A man uncovers a dangerous web of schemes and deceit when he accepts the presidency of a TV company.

扬·汉森有一天收到一封信，署名是保罗的人声称是他的父亲。于是带着疑问他来到了库克群岛。保罗在弥留之际告诉扬他才是他的生父，并把整个岛屿留给了他。扬因此结识了安妮。安妮对保罗的感情就像父亲一样。她来到这座岛之后是保罗给她工作和栖身之所，因此她心存感激。不明真相的扬打算卖掉岛屿结束一切。后来却发现保罗确实是他的生父。但迫于岛上的债务危机，他不得不找养父斐迪南帮忙。斐迪南却把岛屿卖给了菲尔。而菲尔一直想开发这座岛因此来谋利。扬为了阻止这件事的发生努力寻找保罗提到过的“宝藏”。最终他用父亲的专利捍卫了整个岛屿也赢得了安妮的芳心。蔚蓝的天空，碧绿的海水以及可爱的考拉，如诗如画。一切都宛若天堂一般。

This screening puts into practice a radical Godardian proposition: the screening of his Made in USA (1966) and 2 ou 3 choses que je sais d’elle (Two or Three Things I Know About Her, 1966) as a single work, with their reels and narratives intertwined. Godard’s cinema was steeped in literature from the outset. One of his favourite modern authors was William Faulkner, whose work is a recurrent touchstone in his critical writings and films. He referenced Faulkner’s The Wild Palms prominently in À bout de souffle (Breathless, 1960) and toyed in the 1960s with the idea of adapting it. He also nursed the dream of making a musical in the United States with Anna Karina, Gene Kelly and Faulkner himself, but the project foundered following the latter’s death in 1962. The Wild Palms famously comprises two distinct alternating narrative strands – a tragic love story (‘The Wild Palms’), and the tale of an unnamed convict (‘Old Man’) – that illuminate one another through counterpoint throughout. The novel had a significant impact on French cinema following its publication in France in 1952, Agnès Varda borrowing its experimental structure for her pioneering first feature, La Pointe Courte (1955). In 1967, having set aside the idea of adapting The Wild Palms, Godard proposed instead projecting his two very different most recent features, which he had shot back-to-back for separate producers, as an integrated work. As Richard Roud reported, what Godard wanted was to have them shown together, ‘first a reel of Made in USA, then a reel of Two or Three Things I Know About Her, then a reel of Made in USA, etc., just as Faulkner mixed two stories in The Wild Palms. That would be his adaptation of the novel.’* This principle of weaving together and alternating between large self-contained blocks deeply influenced Godard’s practice in this period, notably in his emblematically titled One Plus One (1968) and unfinished projects such as Cub(us)a and One American Movie. It also fed into his experimentation with the juxtaposition of film reels in his film history lectures in Montreal in 1978 and Rotterdam in 1980–81.

Terminal Island, or the swan song of the Angeleno palm tree. The amazing views of the capital of California, one of the few places in the world blessed by perfect climate, are not immune to the scourges of our times, pollution, overdevelopment, and the overwhelming fears of unforeseeable disasters – thus, a sermon delivered in a totally empty futuristic infrastructure. But the ecological dread does not prevent the filmmaker from editing an expressive juxtaposition of intriguing glimpses of Los Angeles and unusual, at times disturbing panoramic shots of a city that is more complex than its name.