从外地来京打工的人力车夫关春奇一家住在北京市边缘的一处外地来京打工者聚集地。在生活稍微稳定后，他把小女儿童灵从老家也接到了北京，就在家门口的一所外地来京打工者自办学校上学。 　　童灵在来北京之前对北京非常憧憬，她原本以为来北京就可以去她最想去的天安门，虽然她们的住所离天安门只有十几公里，但由于关春奇的母亲和妻子都有病，家中生活困难的现实使她的这个愿望成了泡影。身在北京，但这座城市的美丽只存在于她的想象中，她和许多打工者的子弟一样，每天生活在满是垃圾和废弃物的环境中。她家旁边的一处废弃的蔬菜大棚成了她荡秋千的地方。关春奇虽然知道孩子特别想去天安门，但实在舍不得耽误赚钱的时间花钱带孩子去玩，而另一方面，他又花很多的钱给家中的二女儿买英语复读机，给童灵买了保险。 　　关春奇的人力车生意越来越难做，城市对他们这些外地来打工的农民限制也很多，他和他的几个兄弟发泄着不满。最让他们发愁的还是他们的孩子，在看到了城乡差距后，他们更对孩子的将来感到悲观。 　　关春奇一家住的那片房子由于是违章建筑都要拆除，在北京搬了三次家的关春奇又搬到一处打工者聚集地。学校也搬到另外一处地方。童灵的妈妈回老家治病了，家中经济上的任何变数都可能会使童灵随时回老家上学。

MIT数学公开课线性代数。

这是关于一名从事水资源管理工作的军官的爱情故事。他不得不为了任务和恋人分离。这令她以为他不再爱自己，并且放弃了他们之间的梦想。但在分手以后很多年后他们再次相遇了。同时他们之间的感觉也重新出现了。此时的他想要让她呆在自己身边，绝不会再让她像以前那样离开。但他因为任务不得不再度远离她。他要如何同时兼顾责任和爱呢?

这是关于一名从事水资源管理工作的军官的爱情故事。他不得不为了任务和恋人分离。这令她以为他不再爱自己，并且放弃了他们之间的梦想。但在分手以后很多年后他们再次相遇了。同时他们之间的感觉也重新出现了。此时的他想要让她呆在自己身边，绝不会再让她像以前那样离开。但他因为任务不得不再度远离她。他要如何同时兼顾责任和爱呢?

BASIC TRAINING follows a company of draftees and enlisted men through the nine weeks of the basic 　　training cycle. The varieties of training techniques used by the army in converting civilians to soldiers are 　　illustrated in scenes of drills, M-16 and bayonet use, gas chamber, mines, night crawl, infiltration course and 　　the many forms of ideological training familiar to millions of men and women who have served in the armed 　　forces.

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。

想要守护历史的年轻史官和为了成为国王而想要抹去历史的王世孙为了彼此的信念而斗争的故事。