E
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导演：
/洛伦斯·约贝特·格拉西亚
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A great spanish cult movie!! This is one of the most astonishing films ever made. It has some scenes that it should be in the history of cinema. Like the filming by Fernando Fernan Gomez of the militias using a big roll of paper to win a positions. Or the begging of the film based on real events. The birth of the director inside the carp where the first cinematographer was showing "the train arriving to the station". Being shoot in really simple way it's amazing the proper use of the audiovisual language. The late Guillermo Cabrera Infante showed this film in a Canadian film festival in Spanish without subtitles when the projection finish the audience didn't move and they ask for seen the film again. The effect of this film in the audience is unbelievable. None a single person that has seen this rare Spanish movie could forget it. Except the main actor Fernando Fernan Gomez who never remember work on it.
导演：
/达尼埃尔·于伊耶,让-马里·斯特劳布
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The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version.
导演：
/Gilberto Tofano
剧情：
The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
导演：
/Lois Weber
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The Professor dispenses the wisdom of the ages and does not make a living wage. The sons of the rich and powerful are students lacking any motivation. The next door neighbor of the Professor, businessman Olsen, has money and lots of food, while the Griggs have hardly any. Both Peter Olsen and Reverend Gates are taken by the beauty of young Amelia Griggs. When rich son Phil West falls for Amelia Griggs and befriends the poor Reverend Gates, he finally sees the difference in his life and theirs and tries to do something to change that.
导演：
/费利克斯 E. 费斯特
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A massive earthquake strikes the United States, which destroys the West Coast and unleashes a massive flood that threatens to destroy the East Coast as well. If you're wondering about this film and why it's dubbed in Italian, then read the following comment from IMDb: I have always wondered about the disappearance of "Deluge". Why for so many years, seemingly since it's release in 1933, this film vanished from the face of the earth. After seeing it, courtesy of the efforts of Mr. Wade Williams & Co., I'm still puzzled, but I have a theory. In 1933, "the code" was enacted that pretty much took care of sex and violence in Hollywood. While not an explicit film by any means, "Deluge" does deal fairly frankly with sexuality, lust and rape. I wonder if RKO discovered they had a film that they could not re-release, much like the fabled lost Warner Bros. comedy "Convention City". It's a shame for, while it is a dated film, I find it quite unique and surprising for it's era and a fairly successful attempt to create something different in an era when films were already becoming cookie cutter by-products of the studio machine (not that many of those cookies aren't tasty, mind you). And even though the only available copy at this writing is dubbed into Italian, I don't find that a hinderance. An excellent job was done in subtitling the film, and much of the film is visual anyway.
导演：
/迈克尔·戈登
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Leopold Kroner, formerly of Colby Enterprises, is released after five years in prison for embezzlement. Andrew Colby, claiming that Kroner has threatened him, hires lawyer Bob Regan as a secret bodyguard. Sure enough, Kroner turns up in Colby's room with a gun, and Regan kills him. Then Regan, who sticks around to romance Colby's secretary Noel, begins to suspect he's been used.
导演：
/杜桑·哈那克
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Mannheim-Heidelberg International Filmfestival YearResultAwardCategory/Recipient(s) 1969 Won Grand Prize Dusan Hanák A government official in Czechoslovakia mistakenly believes he has cancer. He reasons his involvement in clandestine activities during the Stalin administration have fated him to die from a dreaded disease. He searches for inner peace as he feels the guilt of his past transgressions. This film tied for the Grand Prize at the Mannheim Film Festival in 1969. Slovak director Dusan Hanak was one of Czech cinema's brightest and best talents of the '60s and '70s, but because of censorship this was not manifest until the late '80s. Dusan made an impact on the film world with his auspicious debut 322 (1969). Though banned until 1988, when it was finally released, it earned international acclaim and the Grand Prix award at the Mannheim Film Festival. Hanak's sophomore effort, the documentary Obrazy Stareho Sveta/Image of an Old World (completed in 1972), was also not released until 1988 and neither was his 1980 film Ja Milujem, Ty Milujes/I Love You, You Love. Only Hanak's 1976 film Ruzove Sny/Rose-Tinted Dreams passed muster with censors and saw a timely release.
导演：
/梅迪·夏夫
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剧情 一个法国少年和一个阿拉伯少年自幼便是街头的混混，他们缺乏家庭的温暖和社会的关注，以偷窃为乐，但当他们自认为最愚笨的同学摇身成为大富翁时，他们目瞪口呆，习惯了街头恶习的两人在辞工后不久，又陷入了爱情的困惑，最终都被警察带走，但他们对生活已经绝望，剩下的是两人间不变的友谊。 更多剧情>> 幕后花絮 本片属于波尔电影，也就是反映在法国的阿尔及利亚后裔人的电影作品。导演沙里夫是阿尔及利亚后裔，本片根据他的自传体小说改编，非常直白地将当时法国社会的阴暗现实反映出来。影片最后点出主题，渴望拆除种族的藩篱，超越肤色和种族和平友好地生活下去。整部电影的叙事手法平平，只是倒叙一段类似“戏中戏”处理得较有复古味道，不失讽刺韵味，人物的心理描写也细致准确，属于一部表现社会底层青年生活的社会写实作品。
导演：
/Jonas Bak
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入围第71届柏林电影节德国电影视角单元。 As she enters retirement, a mother leaves behind her solitary life in rural Germany and memories of a once perfect family life and travels to protest-ridden Hong Kong, a place that has kept her son away from her for many years.
导演：
/Breno Silveira, Vicente Kubrusly
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《唐老大》讲述了来自里约热内卢里约热内卢中产阶级的英俊男孩佩德罗的故事，他在十几岁的时候接触了可卡因，使他走上了成为21世纪初统治里约热内卢小报的犯罪团伙头目的道路:佩德罗·唐老大。在动作、冒险和剧情之间切换，多姆还讲述了佩德罗的父亲维克多·丹塔斯(Victor Dantas)的故事，他十几岁时在海底有了发现，向当局报告，最终加入了警方的情报部门。该剧讲述了父子俩过着截然相反的生活，相互映衬、互补，但两人都面临着模糊是非界限的困境。
导演：
/李在恩,林继顺
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九十後女導演李在恩、林智善共同執導，一個喜歡李滄東，另一個卻喜歡園子温。差天共地的電影口味，竟碰撞出如《寒假》般的暑假女生版，跳脫慵懶，活潑厭世，清新搞笑，非常亮眼。三個小鎮高中詩友，畢業後各奔前程，一個去了美國，一個去了首爾，各自追尋詩以外的桃源，留下一個在家鄉，每星期仍堅持視像詩聚，只可惜鏡頭的對面，久未見朋友露面。由十九踏入二十，短短一年卻是人生的分岔口。電影點出階級和城市無形的落差，人與人之間微妙的相遇和相處，總是遊走在隱藏與坦白之間，友情的分岔路上又會是一張怎樣的成績「婊」？
导演：
/David Dinetz,Dylan Trussell
剧情：
憑著網路交友就墜入情網的思春少年羅根，眼看就要和雲端女友進入最後高潮，卻不斷受到室友們的干擾而中止，更在眾人莫名地起鬨之下，決定鼓起勇氣克服兒時陰影，搭機前往澳洲參加一場「標籤博覽會」。據說在這場博覽會，不論是想憑著社交軟體出名的內心渴望，或是尋求他人滿足生理需求，都可以在那裡達成心願！各種慾望衝腦的年輕人們二話不說地搭進了「無尾熊航空」班機，卻壓根兒沒想到竟跟一名恐怖份子同航，看似美夢成真的旅程，卻在一連串荒謬且充滿危機的鬧劇之下全變了調，更在關鍵時刻把希望全寄託在一段youtuber的教學影片上？究竟羅根能否化險為夷，帶著這一群人逃離險境，安然抵達博覽會與雲端情人碰上一面呢…？
导演：
/劳尔·鲁伊斯
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Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series' significance.
