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/

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!)

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。

讲述了被打入凡间的吕洞宾坐船东渡去找白瑛退婚，到达白家后发现白瑛父亲在百花楼失踪，于是前往百花楼，遇见了被傀儡化的白瑛，并遭到黑蛟手下的袭击。从百花楼逃脱后，吕洞宾遇到太白金星，得知自己是白鹤上仙转世，前世今生黑蛟都是书生必须经历的劫难，与白瑛（白牡丹）也有三生三世的情缘……

讲述了被打入凡间的吕洞宾坐船东渡去找白瑛退婚，到达白家后发现白瑛父亲在百花楼失踪，于是前往百花楼，遇见了被傀儡化的白瑛，并遭到黑蛟手下的袭击。从百花楼逃脱后，吕洞宾遇到太白金星，得知自己是白鹤上仙转世，前世今生黑蛟都是书生必须经历的劫难，与白瑛（白牡丹）也有三生三世的情缘……

守护人界的彼岸花灵力耗尽，急需注入新花魂，寒林君趁机帮蜮兽攻入人界，大劫在即。江尘与青鸾寻找花魂，共历生死，逐渐相爱，却发现江尘竟就是花魂。江尘杀身成仁，令彼岸花重开。战胜邪恶后，青鸾日夜守护彼岸花。

该剧改编自星零的小说《帝皇书》。 　　相传韩帝两家共创大靖，然而十年前，帝家因谋逆获罪，仅余下一名孤女被囚玳山。十年后，一心救下帝家孤女的太子韩烨（龚俊 饰），在前往帝家故里靖南剿灭海贼时，竟遇上一个口口声声非他不嫁的娇俏水匪。女水匪自称任安乐（迪丽热巴 饰），她拿出三万水师，登临京师求聘太子，却又在死缠烂打韩烨的过程中，展现出了过人的才智。只有暗中协助任安乐的刑部尚书洛铭西知道，她就是帝家孤女帝梓元，此来正是为了家族翻案。任安乐连破科举舞弊案、江南水灾案，还与镇边公主安宁打得火热。而韩烨也因两人家国立场的一致，对她心生好感，但此时，任安乐的替身，假帝梓元也回到京城，奉旨参选太子妃，本就阴谋遍布的宫廷，因此陷入了更大的旋涡之中。

该剧改编自星零的小说《帝皇书》。 　　相传韩帝两家共创大靖，然而十年前，帝家因谋逆获罪，仅余下一名孤女被囚玳山。十年后，一心救下帝家孤女的太子韩烨（龚俊 饰），在前往帝家故里靖南剿灭海贼时，竟遇上一个口口声声非他不嫁的娇俏水匪。女水匪自称任安乐（迪丽热巴 饰），她拿出三万水师，登临京师求聘太子，却又在死缠烂打韩烨的过程中，展现出了过人的才智。只有暗中协助任安乐的刑部尚书洛铭西知道，她就是帝家孤女帝梓元，此来正是为了家族翻案。任安乐连破科举舞弊案、江南水灾案，还与镇边公主安宁打得火热。而韩烨也因两人家国立场的一致，对她心生好感，但此时，任安乐的替身，假帝梓元也回到京城，奉旨参选太子妃，本就阴谋遍布的宫廷，因此陷入了更大的旋涡之中。