简介：法国南部某个海滨小镇，默默无闻的粉刷工加斯帕（Gregoire Leprince-Ringuet 饰）与同龄女孩马丽安（Pauline Etienne 饰）相恋。某天，他们偶然拾到一部手机，手机里面的奇怪短信令他们颇为好奇，而桌面上那个颓废女孩的相片似乎也紧紧抓住了加斯帕的眼球。数日后，他们按照短信的内容跟踪了两名当事人——消瘦的青年龙（Swann Arlaud 饰）和颓废女孩山姆（Moon Daily 饰），结果这两人竟相约在山中自杀。加斯帕和马丽安匆忙营救，龙气绝身亡，山姆则捡回一条命。　　在此之后，加斯帕找到了山姆所玩的虚拟网络游戏“黑洞（Black Hole）”，渴望再次遇见那个神秘的女孩山姆，却由此走入一条充满凶险的黑暗之途……

简介：漫画家拉菲面临拉子婚姻危机，急于挽回偏偏摔断手送医。 然而危急的不仅是她的爱情，整个国家也濒临分崩离析。 外头镇暴警察棒打黄背心，院里过劳医护挥汗AED，闹哄哄的急诊室宛若法国社会缩影，各色人等一边看政治新闻斗嘴，一边哀嚎争论谁才值得优先关心。 在示威前线遭催泪弹炸伤的货车司 机，与为爱癫狂的拉菲相遇，两个背景迥异却同样失意的暴走沦落人，该如何在烟硝弥漫的医院里捱过动荡长夜，找回内心和平？　　《美好时节》导演推出针砭时局的悲喜剧，不仅描绘女同志家庭，更剑指医疗体系及中下阶层民生问题。 意大利大卫奖影后华薇莉泰德奇在片中大飙演技，将失控的焦虑型依恋者演得神烦又令人怜惜。 当恋人之都烽烟四起，种种歇斯底里的背后，是困顿人生的哀鸣。

简介：日以作夜是一个电影技术术语，意思是指在白天拍摄夜景，本片讲的就是一个电影拍摄过程中的故事。电影《Meet Pamela》正在如火如荼的拍摄中，导演Ferrand（弗朗索瓦•特吕弗 François Truffaut饰）不仅要处理电影拍摄的事情，还要忙于照顾演员们的情绪。其中就有脆弱敏感的男主角Alphonse（让-皮埃尔•利奥德 Jean-Pierre Léaud 饰）的感情问题，还有精神受挫的女星Julie Baker（杰奎琳•比塞特 Jacqueline Bisset 饰）。电影还要赶在约定的时间之前完成，拍摄的进展也不甚顺利，一切看起来如此糟糕，《Meet Pamela》还能拍完吗……本片精彩地以“戏中戏”的结构展现了一部电影拍摄的过程。　　本片获1974年奥斯卡最佳外语片奖。

简介：They come from all over the world but they have one thing in common The Foreign Legion, their new family. The film tells their stories of women struggling to keep their love alive, men who leave for battle, and couples forming on hostile ground.

简介：路易斯（让-保罗·贝尔蒙多 Jean Paul Belmondo 饰）是一名十分富有的烟厂老板，他从海外购入了一位“邮寄新娘”，哪知道出现在自己面前的女子朱丽（凯瑟琳·德纳芙 Catherine Deneuve 饰）竟然是如此的美艳不可方物，觉得自己赚到了的路易斯很快就陷入了朱丽一手编制的情网之中无法自拔。　　随着时间的推移，路易斯渐渐发现，朱丽的背后，隐藏着一个又一个难解的谜题，他甚至都无法确定，眼前的这个女人，是否真的就是自己当初决定购买的那个女人。终于，朱丽暴露出了真实面目，卷走了路易斯的财产不知所踪，可是此时的路易斯早已经被朱丽迷住了心窍，他决定无论对方是如何的蛇蝎心肠，也要追随她到天涯海角。

简介：故事发生在1976年的法国尼斯，艾格妮丝（阿黛拉·哈内尔 Adèle Haenel 饰）是衔着金汤匙出生的千金小姐，她的家族运营着当地最豪华的酒店。这样一个从小到大衣食无忧生活富足的女孩，偏偏喜欢上了一个大她10岁，名叫莫里斯（吉约姆·卡内 Guillaume Canet 饰）的男人，关于这个生性风流的男人，有许多的流言蜚语，但是这些都不能动摇艾格妮丝对莫里斯的爱，她坚定的相信他就是自己命中注定的那个人。　　因为好赌，莫里斯惹上了大麻烦，于是他想到了利用艾格妮丝的身份去讨好弗拉托尼（让·科索 Jean Corso 饰），艾格妮丝对莫里斯言听计从，甚至为了他而背叛了自己的母亲（凯瑟琳·德纳芙 Catherine Deneuve 饰）。

简介：故事发生在遥远的古代，名叫瑟拉多（安迪·吉雷 Andy Gillet 饰）的牧羊人和名叫阿斯特蕾（斯蒂芬妮·克雷恩考尔 Stéphanie Crayencour 饰）的牧羊女相爱了，两人的爱情炙热而真诚，他们都视彼此为今生的唯一。不幸的是，由于听信了谣言，阿斯特蕾误以为瑟拉多另有新欢。伤心欲绝的阿斯特蕾发誓再也不愿见到瑟拉多。　　失去了阿斯特蕾的瑟拉多悲痛万分，只想匆匆了却此生，没想到，企图投河自尽的他被仙女救起。求死不成，瑟拉多重新感受到了自己对于阿斯特蕾的爱意，可是永不相见的誓言已经许下，面对这铁一般的桎梏，瑟拉多能够重新见到阿斯特蕾吗？又将有多少艰难险阻在道路上等待着他呢？

简介：Fabienne是一个女星——是法国影坛巨星。在拥护爱戴她的男人面前她是高高在上的女神。她的女儿因她出版回忆录而带着丈夫和年幼的孩子从纽约回到巴黎。母女二人的重聚很快便变成互相指责：真相将被揭露、算清所有前帐，向对方坦然承认自己的爱和怨恨。

简介：一个叫托马斯的22岁男孩，为了戒毒加入了一个隐世于山里的社区的故事。这个社区，实际是由一帮瘾君子们组成的。但这帮人，和托马斯一样，试图通过祈祷和工作这样的外力来克服毒瘾，而摆脱从前的经历，和自己。在这里，这群都曾坠落在黑暗里的男孩与女孩，在相互的羁绊和纠缠中，友谊、信仰和爱情似乎正在隐约凝成一道看不见的光柱，在无形中悄然的指引着他们脱离从前。

简介：1893年，因母亲去世，加布里埃尔•香奈儿的葡萄酒商父亲将她与妹妹安托妮特抛给了奥巴兹孤儿院。成年后的香奈儿（奥黛丽•塔图 Audrey Tautou 饰）与安托妮特（玛丽•吉莲 Marie Gillain 饰）一边以缝纫为生，一边在酒吧唱歌赚钱。香奈儿因一曲《小狗可可》结识了法国百万富翁艾亭奈•巴桑（贝诺特•波维德 Benoît Poelvoorde 饰），并成为了他众多情妇中的一员。在巴桑的城堡，香奈儿开始制作女帽，并与演员艾米丽安（艾曼纽•德芙 Emmanuelle Devos）成为朋友。香奈儿对取悦巴桑的生活日益不满，同时发现爱上了巴桑的好友，英国工业家阿瑟•伯邑•卡伯（亚历桑德罗•尼沃拉 Alessandro Nivola 饰）。有了伯邑的支持，香奈儿是否便能开始她一直想要的个人事业呢？　　本片被提名2009年欧洲电影奖观众奖。

简介：主授英国文学的大学教授玛丽（夏洛特·兰普林 Charlotte Rampling 饰），在其端庄切不可侵犯的外表下，隐藏着沉睡已久的蓬勃欲望。她与丈夫让（布鲁诺·克雷默 Bruno Cremer 饰）几十年的生活平淡如水，波澜不惊。这一切，却被丈夫的失踪击得粉碎。某个海滨的早晨，让独自离开度假小屋，一去不返。在此之后，玛丽似乎竭力控制着自己的情感，她设想丈夫仍在身边，每天陪她逛街、采购、聊天，生活一如既往。　　不久，一具尸体被打捞上来。玛丽的自我麻痹结束，她开始试图了解丈夫的一切，却发现夫妻俩的隔阂与疏离如此之深。而在这一过程中，关于让的行踪也变得扑朔迷离，或生或死，永无定论……

简介：影片根据法国的一个真故事改编，1982年7月的一天，男主得知了女儿的死讯。他的女儿只有14岁了，在去世之前在德国和妈妈、继父一起度假。不过很快，她的死亡状况出现了疑点。生父为了女儿的真实死因跟法国法院和德国检察院纠缠了30年，但德国一直不肯引渡女儿的继父到法国进行审判，最后还是生父把他绑架到法国，才得以审判。

简介：Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

简介：Claudie, a young French woman, inherits her uncle's property in Algeria, much to the disappointment of her scheming cousins Diane and Manuel. On the ferry she meets and falls for Pierre, an idle young man who has squandered his inheritance and is on his way to beg from Christian, his rich but rough-and-ready uncle, who owns a neighbouring farm to Claudie's. Made to work on the farm by Christian as a loan condition, Pierre is soon a changed man, and proposes to Claudie. But when his Arab friend Zoubir invites the Europeans on a hunting party, Diane and Manuel see their chance to move against their cousin.

简介：马利梅（卡丽佳·图尔 Karidja Touré 饰）是一个特立独行的女孩，周围许多同龄人的所作所为在她看来都十分的幼稚，学校一成不变的学习生活也让她倍感无聊，无处不在的男权气息令马利梅几乎窒息。就在这个节骨眼上，马利梅结识了女孩帮——一个由三个充满了个性的独特女孩所组成的帮派。　　为了能够融入女孩帮，马利梅不惜改掉了名字，转变了穿衣风格，甚至退了学，开始从事盗窃等一系列违法犯罪活动。随着时间的推移，加入帮派的马利梅的心情从最初的激动转变为了犹疑，因为她逐渐发现，即使是在这里，她也无法寻找到她想要得到的那种自由。

简介：在一个宗教和地下势力统治的地区：Dounia 一个15岁渴望权利和成功的女孩，在好友Mainouna的支持下，她决定追随大女毒贩Rebecca的步伐，在遇到一个 年轻的舞蹈家Djigui后，他撩动了她的心，将会打破她的不变的生活.....

简介：13岁的维克多和一般青少年无异，对恋爱怀抱憧景、满腔足球热血；不同的是，他和罹癌母亲住在海边拖车，过著共享一双球鞋的拮据生活。早熟灵魂和生父素未谋面，直到母亲意外收到演奏会的门票。　　维克多的父亲是知名指挥家，投入音乐巡演多年，沉浸在世界奏响的所有声息。维克多担心母亲因经济能力放弃治疗，便决定私下接近父亲，寻求实质帮助。此次重逢，除了瞭解父亲为何离家，也让他邂逅了音乐的美好。马勒在写下《第六号交响曲》之后的一年，被诊断出心脏病，并丢了工作、大女儿过世。触碰到伟大创作中的孤单音符，维克多深刻体会到，艺术的至善至美，大多脱胎自生命的至痛至苦；就和人生一样，和自己的家庭一样。

简介：一天清晨某村庄的沟壕里出现了一具僵死的女尸。在警察的调查下，死者莫娜（桑德里娜•伯奈尔 Sandrine Bonnaire 饰）的流浪岁月由此被揭开。她身背大包四处露营，与落魄的流浪汉同居在一处房子里，一起抽烟睡觉。一个老妇人的女仆尤兰德满心羡慕莫娜和流浪汉的自在状态，不满男友保罗的简单粗暴。某夜保罗入室行窃打昏流浪汉，莫娜随即不辞而别。接下来她遇到了一对放牧的夫妇，他们给了她土地和住所，期望她能努力过上平静踏实的日子。莫娜不以为然重新上路，在路上搭便车结识了以研究树木为职业的兰迪尔，兰迪尔给予了莫娜短暂的帮助后两人便分道扬镳。此后莫娜又在途中结识了剪葡萄树枝的工人阿兹，无人知晓莫娜的流浪将把她引向何处……

简介：1425年，法国百年战争期间，少女贞德只有8岁，她在一个小村庄多雷米生活，每天照看羊群。有一天，她告诉她的朋友奥维耶特，她已经不能忍受英国军队对法国人民的摧残。然而修女太太热尔韦斯却试图跟这个年轻小姑娘讲道理，告诉她不要试图去抗争。但是贞德已经准备好拿起武器，跟英国军队对抗到底，带领法国走向解放。

简介：两位年轻的女兵，奥若蕾和玛琳，在她们阿富汗执勤期的尾声，被批准和她们的小队一起享受为期三天的减压假期。他们来到了塞浦路斯的一家五星级度假酒店，和游客们待在一起。但是忘记战争、抛弃暴力并非易事。

简介：入选2016年柏林国际电影节论坛单元。　　在国外拍片失败之后，26岁的安娜回到故乡斯特拉斯堡。此时正值天气炎热，她首先要做的是把祖母的浴缸换成淋浴。此外，她吃着青豆胡萝卜配番茄沙司、开着保时捷、采摘黄香李，还丢了驾照，和最好的男性朋友发生了关系，最后又回到了前任男友的怀抱。总之，这个夏天，安娜忙碌于应付生活。

简介：A part of Joan of Arc's life. At the beginning, Jeanne (Joan) has already left Domremy, she is trying to convince a captain to escort her to moxia.cc the Dauphin. It ends during Jeanne's first battle, at Orleans. Meanwhile, Jeanne is depicted more as a warrior than a saint (all cliches are avoided), with only her faith for strength.

简介：加布里埃（马修·阿马立克 Mathieu Amalric 饰）是一名在出版社工作的编辑，近日里，他对自己的工作产生了强烈的质疑。曾经，加布里埃是一名自由职业者，可以随心所欲的创作自己喜爱的作品，如今，他被局限在狭窄的办公室之中，无比怀念曾经自由的生活，可又下定不了辞职的决心。　　在感情生活里，加布里埃也是这样的犹豫不决。他十分想念前女友珍妮（珍妮·巴利巴尔 Jeanne Balibar 饰）的成熟和性感，却又放不下现任女友安娜（维吉妮·拉朵嫣 Virginie Ledoyen 饰）的年轻和单纯。亚德（弗朗索瓦·克鲁塞 François Cluzet 饰）是加布里埃的好友，他的死讯让加布里埃开始重新思考起什么才是他生命中真正重要的东西。

简介：七岁的诺拉面临首度上学的恐惧，看似在学校适应良好的哥哥亚伯，一方面要安抚妹妹，一方面有自己的难题。上课钟声响起，在陌生的环境中除了得向同学自我介绍，诺拉还有下水游泳、走平衡木的新挑战；终于熬到下课时间，却意外发现哥哥的小秘密，想告诉父亲却被下了封口令。宛如小型社会的学校生活，课堂上的表现、同辈间的压力考验着兄妹俩的感情，诺拉能否在校园中拥有自己的归属呢？　　比利时新锐导演萝拉汪戴尔首部长片，以手持长镜头、锁定与孩童等高的影像画面，紧紧跟随初次上学的诺拉，校园环境音、孩童嬉闹声层层推叠，成功将主角的惴惴不安，透过银幕蔓延开来。饰演兄妹的两位小演员表演浑然天成、细腻精彩，随著剧情的推进，光是一道眼神的变化就足以令人心碎。