尼娜和莉兹被送进同一间精神病院，并在此相识。尼娜对父亲的死心怀愧疚，悲惨事件发生以来一直情绪低落。至于莉兹，她是个有点精神错乱的女孩，曾试图自杀，因此被监禁于此。一个周末晚上，莉兹劝服尼娜一起溜出医院，和自己的男朋友以及其他朋友将城市漆成一片红色。然而事情并没有照计划进行……BY：http://www.niudy.com/Jqing/moushafan/

《谋杀犯》(Meurtrières) 　　导演：Patrick Grandperret《叻女夏令营》 　　获奖：2006年戛纳电影节“一种注目”单元评审团奖 　　2006年法国《电影手册》评分-3颗星 　　介绍：尼娜和莉兹被送进同一间精神病院，并在此相识。尼娜对父亲的死心怀愧疚，悲惨事件发生以来一直情绪低落。至于莉兹，她是个有点精神错乱的女孩，曾试图自杀，因此被监禁于此。一个周末晚上，莉兹劝服尼娜一起溜出医院，和自己的男朋友以及其他朋友将城市漆成一片红色。然而事情并没有照计划进行……

Filmed by Dutch documentary maker David Kleijwegt in 2007, You May Need A Murderer follows indie rock's favourite Mormon band as they perform live, and hang around at home. It's actually quite a strange film in that sense. More than your standard rockumentary or live document, this film captures husband and wife Alan Sparhawk and Mimi Parker on the road and set into their family life. The tone of the documentary shifts between behind-the-scenes footage of a band going about their business, and far more personal insights, with Sparhawk talking about his experiences with mental health problems (did I really just hear him say he thought he was the Antichrist?) and the band's relationship with their religious beliefs. In addition to the feature-length film itself, the DVD also includes 'At Home With Low', which collects six exclusive acoustic tracks.

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

1940年代末黎巴嫩即将陷入战争时，一对兄妹埃米莉和埃米尔逃往巴西。他们在亚马逊的马瑙斯市开始新生活。埃米莉爱上了商人奥马尔，而埃米尔因嫉妒而挑起事端。在一次争吵中，埃米尔受伤，被奥马尔带往亚马逊丛林寻找巫医救治。埃米尔康复后，埃米莉与奥马尔成婚。而此时，一场悲剧也同时发生。这部电影不仅是对移民过程的描绘，更是对记忆、激情和偏见的深刻探讨。

1940年代末黎巴嫩即将陷入战争时，一对兄妹埃米莉和埃米尔逃往巴西。他们在亚马逊的马瑙斯市开始新生活。埃米莉爱上了商人奥马尔，而埃米尔因嫉妒而挑起事端。在一次争吵中，埃米尔受伤，被奥马尔带往亚马逊丛林寻找巫医救治。埃米尔康复后，埃米莉与奥马尔成婚。而此时，一场悲剧也同时发生。这部电影不仅是对移民过程的描绘，更是对记忆、激情和偏见的深刻探讨。

In a documentary about Samuel Fuller, the spectator gets different impressions about the Hollywood director and his films. The film is divided into the three sections: The Typewriter, the Rifle and the Movie Camera. The first segment covers Fuller's past as a newsman where he began as a copy boy and ended as a reporter. Part two describes Fuller's experiences in World War II, in which he participated as a soldier. The last section focuses on Fuller as director. Tim Robbins interviews Samuel Fuller revealing the director's own memories and impressions. Beside the interview, Jim Jarmusch, Martin Scorsese and Quentin Tarantino accompany the documentary with their comments. Written by Gerhard Windecker {[email protected]}