故事梗概： 　　 　　本片讲述了一个发生在二战时期感人至深的故事。德国纳粹在逮捕犹太人时，有一群孩子在各自父母和德国犹太人组织的保护下逃脱了被送往集中营的厄运，他们被迫与父母分离，远走他乡。尚邦作为法国的一个小村庄，也毫无例外地接受了一批又一批逃难来的犹太孩子，那里的村民以他们善良淳朴的胸怀接纳了这些年纪尚小的逃难者。 　　 　　让·方丹牧师就是这个村庄犹太人救助委员会的主要组织者，他因为在布道之余常常宣传反纳粹的言论而遭到盖世太保们的迫害。也正因为如此，他成为了这个村庄最受爱戴的人。又一批犹太孩子被送到了尚邦，其中包括年龄最大的女孩玛丽亚诺和年龄最小的男孩戴卫。他们很快被村民们收养了，在这些村民的家里，孩子们被很好的照顾着。不久，听到风声的盖世太保搜查了小村庄，尤其是新上任的党卫军头子韦德拉克坚信有一部分犹太孩子被牧师藏在了村子里。在村民们的保护下，孩子们终于安然无恙，但牧师却因此遭到了盖世太保的毒打，并受到了警告。 　　 　　局势日益紧张，德国人很快就要进驻小村庄，犹太孩子们的处境十分危险。让·方丹牧师等人决定迅速转移这些犹太孩子，把他们送到安全的地方。带领孩子转移的重任落在了村里小学年轻的代数老师马克的身上。在转移的途中，一个德国士兵无意中发现了这批逃难的犹太孩子，危机一触即发，无奈之中，马克杀死了那个德国士兵，孩子们被安全地转移了，但马克却陷入了党卫军的疯狂追捕中，为了不连累乡亲们，在和爱人玛丽亚诺吻别后，马克决定向德军自首。而被捕的让·方丹牧师亲眼目睹了他被杀的过程，痛彻心扉。 　　 　　精彩视点： 　　 　　《静谧的村庄》改编自二战期间犹太人被迫害得真实事件，导演运用了浪漫主义和现实主义相结合的表现手段、谱写了一曲在二战时期的壮丽悲歌，影片所有元素的运用，使本片达到很高艺术体现，极富感染力。影片一经上映就深受好评，被人们评为是可以与《辛德勒的名单》相媲美的史诗性巨作，并一举获得了第11届上海电视节最佳纪录片技术和最佳导演两项大奖，成为当时电影界最炙手可热的影片之一。 　　 　　7月31日 16：38 CCTV-6

有人终日为情所困，长吁短叹；有人却对它不以为然，嗤之以鼻。 法国壮男Luc热衷于新鲜和刺激。网路交友、见面、上床构成了他生活的全部。直到遇见Sebastien-他们同居了。Sebastien在伦敦有位固定伴侣Jon。每逢夏季Jon都会来巴黎与他的小情人相会。这次对Luc来说似乎有所不同。继续追逐新的猎物还是展开一段恋情，Luc会何去何从。本片导演Jason bushman(饰Sebastien)以写实的拍摄手法，用大尺度、具有视觉冲击力的镜头折射出同志间微妙的关系。◎QAF

由禧禾传媒出品的《静谧之野》是国内首部自然睡眠纪录片。在纪录片的镜头下，我们安静的凝视着自然的细节，行走在山河之间。我们用画面和声音记录下中国土地上的风、沙、雨、火，以及人与自然的默契相处，娓娓道来般的讲述着这片土地上的季节流动。这是一场关于自然、手艺与时间的缓慢旅程，也是一段归于平静的心灵对话。自然，无须多言。

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

2024年是“中法文化旅游年”，也是中法建交60周年。中法合拍纪录片《文明的荣光》以故宫博物院的“紫禁城与凡尔赛宫：17、18世纪的中法交往”展览展出的约200件文物珍品为切入点，呈现中法两国交流互鉴的高光时刻。

扎根于社会、政治之上不可明言的故事，用客观的画面让观者自己去构建残酷的现实，以平淡的铺陈步步引向深刻的隐喻。叙事、画面，处处可见这位传奇导演对阿巴斯和马克马尔巴夫等追随者的影响。

扎根于社会、政治之上不可明言的故事，用客观的画面让观者自己去构建残酷的现实，以平淡的铺陈步步引向深刻的隐喻。叙事、画面，处处可见这位传奇导演对阿巴斯和马克马尔巴夫等追随者的影响。

河万起会长一手振兴了已经没落的河氏宗家，虽然他并非河家的亲子孙，但他决心把河氏宗家精神传承下去。然而他寄予厚望的孙子们并不争气，那对双胞胎兄弟…

The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 　　Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.) 　　By Lee Pfeiffer -cinemaretro.com-

The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 　　Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.) 　　By Lee Pfeiffer -cinemaretro.com-