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!)

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/

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。

爱摄影，走到哪儿都要带着相机的爸爸；爱臭美，喜欢鼓捣手工护肤品的妈妈；爱撒娇，除了睡觉就是粘人的金毛小公举，一个温暖快乐的三口之家，通过影像记录下日常的手作点滴，取天然花草、原味香料和各种有机食材，经过质朴而简单有趣的手工，作出全家人养护肌肤、疗愈身心的日常用品。一段段抽离忙碌生活的独处时光；一件件带着温暖和自然气息的手作小物，串联成《造物集》中那些恰到好处的幸福光影。

神秘的苍梧国中，大将军羲明畏罪自尽，满门被屠，长女羲和（徐轸轸饰）自战场归来，也惨遭暗算。即将成为太子妃的她失去一切，重生为废柴沈千夜。怀着满腔不甘，沈千夜踏上了复仇之路，并与疑似凶手的跋扈小皇叔裴夙（叶盛佳饰）纠葛不休，在调查真相的过程中揭露苍梧国中暗藏的重重秘密，最终寻得光明。

罹患痔疮的年轻武士擅长写诗，在执行任务的过程中误杀了自己的同事，却偶遇了美丽机制的槟榔公主，两人语言不通却在斗智斗勇的过程中建立了诗意一般的感情。在通过诗句与感觉的交流后，他们将一起面对复活杀手带来的危机......

《散步集》（第一季），由央视新闻和瞬间MomentX联合策划和推出，由大象纪录拍摄制作。我们邀请了那些在生活中热爱观察与思考的嘉宾，就自己当下最有感触的一个词，展开一次“散步”。散步不仅是身体的行走，还是精神的漫游。许多真实的情绪、珍贵的灵感甚至思想，都是在散步中诞生的。本季，和贾樟柯、赖 声川、敬一丹、惠英红、潘玮柏、胡德夫……一起散步吧。

神秘的苍梧国中，大将军羲明畏罪自尽，满门被屠，长女羲和（徐轸轸饰）自战场归来，也惨遭暗算。即将成为太子妃的她失去一切，重生为废柴沈千夜。怀着满腔不甘，沈千夜踏上了复仇之路，并与疑似凶手的跋扈小皇叔裴夙（叶盛佳饰）纠葛不休，在调查真相的过程中揭露苍梧国中暗藏的重重秘密，最终寻得光明。