A contemplation of the New Soviet Man runs head-first into a romantic comedy with music in this film from the Soviet Union, which was highly controversial upon initial release. Dr. Stepanov (Yuri Yurev) is a well-known and gifted surgeon whose talent is matched only by his arrogance; he constantly bosses around his assistant, Fydor (Maksim Straukh), and his wife, Masha (Olga Zhizneva). Masha is beautiful and a great deal more charming than her husband, and she soon attracts the attentions of Grisha Fokin (Dmitri Dorliak), a young man who is quite infatuated with her. As Grisha pursues Masha, the characters debate the role of free love and free will within the Soviet social and political economy, as well as the juncture of the body and the mind. Strogiy Yunosha ran into considerable oposition from government censors once it was completed, and was banned by Soviet authorities after only two months of release, which led to director Abram Room's banishment from Ukrainfilm Studio. The film was later revived as part of the retrospective "Another History Of Soviet Films 1926-1968," which was presented at the 53rd Locarno Film Festival in August, 2000. ~ Mark Deming, All Movie Guide

阿富汗2014。当部队即将撤离时，Antarès Bonassieu上尉和他的部队被指派在巴基斯坦边境的Wakhan偏远山谷执行控制和监视任务。尽管他们下定决心，但安塔利斯和他的手下逐渐失去了对本应平静的地区的控制。九月的一个晚上，山谷里的士兵神秘地消失了。

本片记录了国产B级片演员胡子对“自己到底想要做什么？”的一段探索历程。一个没有意思的人如何才能找到他认为有意思的事来做？如果一个人终于找到了他认为有意思的事，这和他自身的存在意义又有什么关系？还是在某个时机之下两者其实是一回事？如果一个人认为他的存在是没有意义的，那么至少在他头脑中还有意义这个概念。如果他认为意义本身毫无意义，他只是自己想着“什么都不是”然后再根据这个意思否定这个意思有“什么都不是”之外的其他任何意思。把意义的概念定义为“空”不能证明意义不可以“有”。也许他只是还没有找到，也许找到了但不能确定。当然，有可能他永远也无法找到，或者即便找到了也永远无法确定...

In 1964 author Samuel Beckett set out on one of the strangest ventures in cinematic history: his embattled collaboration with silent era genius Buster Keaton on the production of a short, titleless avant-garde film. Beckett was nearing the peak of his fame, which would culminate in his receiving a Nobel Prize five years later. Keaton, in his waning years, never lived to see Beckett’s canonization. The film they made along with director Alan Schneider, renegade publisher Barney Rosset, and Academy Award-winning cinematographer Boris Kaufman, has been the subject of praise, condemnation, and controversy for decades. Yet the eclectic participants are just one part of a story that stretches to the very birth of cinema, and spreads out to our understanding of human consciousness itself. 　　NOTFILM is a feature-length experimental essay on FILM’s production and its philosophical implications, utilizing additional outtakes, never before heard audio recordings of the production meetings, and other rare archival elements.

4.3 사건으로 상처 입은 제주도와 제주사람들... 　　그리고 지금 아프게 부서져 가는 강정마을의 이야기 　　제주시 애월읍 납읍에 살고 계신 강상희 할머니, 할머니의 남편 김봉수는 4.3으로 희생되었다. 해군기지 문제로 떠들썩한 서귀포시 강정마을. ‘4.3의 원혼이 통곡한다’ 와 같은 수많은 현수막이 제주 4.3과 해군기지 문제가 다르지 않음을 말한다. 카메라는 유령처럼 제주도 납읍리, 가시리, 강정마을, 일본 오사카 등을 돌며 그 흔적과 균열들을 드러내기 시작하고 다시 강상희 할머니가 혼자 살고 있는 집 앞마당으로 돌아온다. 언제부터인지 알 수 없지만 잠자리 밑에 녹슨 톱을 두고 살아온 할머니의 삶... 가늠할 수 없는 깊은 슬픔을 짊어진 제주도와 제주사람들의 삶에서 녹슨 톱은 언제쯤 치워질 수 있을까. 　　Focusing on Mrs. Kang sang-hee's life, she lost her husband in Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Is land, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.

A man, Vince, wakes up in the middle of a film shoot. He doesn't know what's going on or why he's there, but crew members tell him he's one of the actors in the film so he decides to just play along. During the shooting of one scene, one of the other actors, 122, accidentally kills most of the crew. Vince, 122 and the remaining crew decide to finish the film by themselves, even though there's no script, no sound equipment (they decide to make it a silent film) and no camera (they then decide to also make it a "blind" film). 　　Like his music, this first feature film of Quentin Dupieux (aka Mr. Oizo) is at the same time totally retarded and utterly brilliant. A calm yet demented piece of metafiction, examining the boundaries between film and reality in a dry, absurdly humorous way.

沈念前世因无条件溺爱侄子，饱尝家人冷漠与伤害，最终悲惨离世。重获新生，她誓要改变命运。这一世，她决定收起无原则的溺爱，对侄子的行为放任自流，不再让自己重蹈覆辙。她要活出自我，守护自己的幸福，不再让任何人轻易伤害到自己。

Charlize Theron及其制片公司Denver and Delilah Productions开发Gina Frangello 2014年小说《A Life in Men》的改编剧集版，由Sarah Walker执笔﹑并已找了Kristen Stewart及Riley Keough当主演。 　　《A Life in Men》讲述友谊坚定的Mary及Nix自小就相识，到了80年代中期时因为Mary确诊了会缩减寿命的病，因此Nix发起一次前往希腊的旅行，决意使此行令Mary终生难忘。但当她们从希腊回来后，Nix突然与Mary绝交，并在三年后离世；无法理解的Mary决定重游当地理解一下因由，过程中Mary遇上一名男士，并因此在性﹑精神及情感上有崭新的认识。凭借这两件事，Mary理清了Nix的故事，并开始欣赏活出冒险精神的自由态度。暂时未知Kristen Stewart及Riley Keough是饰演哪角。

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.