We film buffs grew up worshiping Jean Cocteau—particularly his BEAUTY AND THE BEAST, ORPHEUS and BLOOD OF A POET—but in recent years he has perhaps ebbed from our consciousness.

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought. Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead. Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences. The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer. Jean Cocteau is dead, long live Cocteau! (James S. Williams)

故事开始于一位年轻画家的工作室中，他所画的一幅肖像竟然活了起来，画上的嘴巴依附在画家手上，并且发出人语。画家大感惊慌，乃将这张嘴涂抹在一个雕像上，没想到雕塑也因而变活。其后，雕像又帮助画家进入镜子中，展开了一场扑朔迷离的奇幻之旅。

你还记得我们与内心交流的方式吗？梦境是最常见的方式……我们一直思索如此鲜艳的色彩如何能在黑暗中孕育而生，微弱而温和的话语在梦境中响起，讲述着一些重要的、惊奇的、深刻的真理。影像与话语，就像暴雨夜中噩梦。在西方的眼下，天堂失落，战争就在此地……

纪录片由艾曼纽·洛宏执导，将许多珍贵文献与访问片段巧妙熔于一炉，叙述法国新浪潮大师两位大师导演特吕弗与戈达尔，从一开始的惺惺相惜，以至后来反目成仇的始末。 　　1959年，法国电影新浪潮，平地一声雷，彻底改写电影史，同为《电影手册》写稿的特吕弗与戈达尔，当时是莫逆之交，一群人满腔热血，想为电影史作出一番轰轰烈烈的大业。戈达尔的成名作《断了气》，还是源自特吕弗创作的剧本。 　　然而，直到“五月革命”，二人关系慢慢变质，开始交恶、常常公开互相挑衅。 　　政治倾向尖锐的戈达尔，对特吕弗样样不顺眼，连特吕弗获奖无数的《日以作夜》，都惨遭戈达尔毒舌了一番。1984年，特吕弗英年早逝，两人却从未和解，徒留遗憾。 　　这部珍贵的纪录片，首次曝光的戈达尔童年照片，将两位大师毕生的恩怨，作了一次肃穆的巡礼。

一位18世纪的诗人通过时间隧道到了一个神秘的地方，他遇到了许多让他死亡又让他重生的事物。可是他还是必须面对死亡的洗礼，他还有什么心愿未了吗？

影片改编自1929年发表的让·考克多的自传体小说，讲述一对姐弟的非正常生活。他们之间进行着外人看起来过分的游戏，但对于他们来说又是必要的。在新人走进他们的生活之后，嫉妒和欺骗产生了。 让-皮埃尔·梅尔维尔曾执导《独行杀手》《红圈》等着名影片。他并非科班出身，因为喜欢电影自组独立制片公司开始从事创作。但当时他忽视法国电影界传统的制片方式，很受到各方面的注意，特别是受到诗人让考克多的赏识。因此考克多提供一千七百万法郎的制片费，请他导演他的小说《可怕的孩子们》，结果很成功，而被誉为战后法国电影界最有才华的新人，被视为法国新潮电影间接的先驱者。 Elisabeth is very protective of her teenage brother Paul, who is injured in a snowball fight at school and has to rest in bed most of the time. The siblings are inseparable, living in the same room, fighting, playing secret games, and rarely leaving the house; though Paul's friend Gerard often stays with them. One day Elisabeth brings home Agathe to live with them also. She bears a strong resemblance to Dargelos, a schoolboy whom Paul had a crush on, and who injured him. Paul and Agathe become attracted to each other, causing Elizabeth to be very jealous. 大致意思是关于兄妹和介入者的感情纠葛，贝托鲁奇的《戏梦巴黎》部分灵感源于此片。

我穿回十年前，亲手撕了婚书。前夫却嗤笑我迟早会求他复合。他不懂，前世我为他挡刀、养大别人的儿子，最终却落得满门惨死。这一世，我看着暗处走来的新科状元——那个前世为我收尸的敌国皇子，主动牵起他的手：“娶我，我助你夺天下。”前夫还在赌我会回头时，我的新夫君已为我戴上凤冠，在他面前吻我：多谢王爷，将明珠让与我。

导 演：吴永刚 主 演：薛永康 言少朋 王宝山 汉末建安（献帝年号）之世，群雄角逐。凡太守刺史，各据州郡，强存弱肉，互相并吞，朝廷之政教号令，弃等弁髦。曹操强迁献帝于许都，挟天子以令诸侯，势力最大。稍不如意，动辄临之以兵，无敢与抗衡者也。徐州太守陶谦，实治世之良臣，非乱世之能臣，自知处于战争旋涡之中，恐孤立者之不足以保存，意欲攀附曹操，引为奥援。曹操父曹嵩，闲住在琅琊郡，曹操遣人迎养，曹嵩挈带眷属就道。经过徐州。陶谦致敬尽礼，特差都尉张闿护送。张闿本黄巾余党，盗心未改，更半路，尽杀曹嵩全家，取其财物而逸。曹操闻信怒甚，以为陶谦指使。悉起大军攻夺徐州，声言得城后，尽行屠戮百姓，以雪父仇。陶谦命人请北海太守孔融、青州刺史田楷两处兵马赴援。孔融代为招致平原令刘备同来。陶谦见刘备器宇轩昂，局度宽厚，即取徐州牌印授刘备。刘备不受，致书于曹操以求和。曹操因吕布之袭兖州，急欲回兵，允刘备所请。陶谦设酒筵庆功，复以牌印相让，刘备仍却之。陶谦留刘备在小沛屯军，以成犄角为徐州保障。后陶谦病危，邀刘备至署，将牌印亲手交付，刘备再欲推辞，而陶谦已气绝矣。刘备遂摄行州事，抚辑军民