远山恋人

　　《10 Years Thailand》是一部合拍片，共邀请四位泰国导演来设想祖国十年后的样子。四位导演分别是Aditya Assarat、Apichatpong Weerasethakul、Chulayarnnon Siriphol和Wisit Sasanatieng。虽然每个人只负责拍摄一个篇章，但最终的成片却让人对泰国当前的政治局势展开深思。自2014年起，泰国进入军事独裁时期，不同政见、公众表达和思想的多样性都受到了限制。国内兴起了一种狭隘的全新民族主义，推崇所谓的思想正确与行动正确理念。如果这种状态持续下去，十年后，泰国将变成什么样子？

　　分手是一件很残忍的事，因为它戛然而止，因为它不可重复，因为每个人都会藏着一份不可割舍的心结开启下一段生活，随着时间的推移，这份心结，沉郁泛滥，不可触碰。
　　所以，当一对分手多年的男女，阴差阳错身处一室，共度一夜时，他们会做些什么？他们会说些什么？这将是一个很耐人寻味的局面。
　　是情欲堙灭理智，做一场天亮就散的露水情缘，还是理智碾压情欲，拒对方于千里之外，老死不相往来？
　　或者，更像一个普通人，有冲动，有挣扎，有算计，有包容，有斥责，有体谅，将想说的话，旁敲侧击地说完，将牵绊痴缠的情，半推半就的释放，最后才发现，分手，并不是什么要命的事，它不过只是让你更好的认识对方。
　　红尘痴笑，岁月沉浮，时间是一道洪流，它激荡着青春，也吞吐着爱情，留下遗憾，流向远方。

　　Set in a small Quebec town in the late-1920′s, this emotional drama follows the life and exploits of Celeste Beaumont, a talented young pianist who gains local celebrity at the town movie theater for her gifts as a silent film pianist.   Awkward Pierre Blaudell is her biggest fan and eventually marries her.   Shortly after this she bears his son, Pierre, who joins the army.   She insists on joining him at the base and his meddlesome, snooty parents insist she give them her son.   Pierre is killed in the war, and Celeste flees to New York where she finds steady employment as a jazz pianist.   She finds a life-long companion with a black musician and chronicles her experiences in a diary that she passes on to her son after he grows up.   Her son becomes a painter and once his own son, Antoine, is grown, reads him the story of Celeste, the youth’s grandmother.   Intrigued, Antoine heads to the Big Apple in hopes of finding her.
　　This movie is an emotional drama about how Antoine, played beautifully by François Méthé, discovers the details of his heritage.   This film won many awards in Canada and at Cannes in 1988.   François Méthé, who was about 11-years-old, never acted again after this movie.
　　From IMDb:
　　A quiet painter, separated from his wife for a year, receives a suitcase in the mail from his mother, whom he hasn’t seen since infancy.   He believes she abandoned him to his wealthy, paternal grandparents.   The suitcase contains mementos and a diary, a long letter to him, written over the years, with details of her youth, her first job as a pianist at a cinema, the coming of talkies, her marriage, and how he came to live with his grandparents.   As he reads through the materials and her story comes to life, his son Antoine, who’s about 10 or 12, tries to break through his father’s silence and sorrow by taking matters into his own hands.

　　将人与人的脑连接起来，进行电气信号分析，影像化，研究潜在意识的技术被发明。与杀人事件有关的心神丧失的女性的头脑里潜入进入，在时间与空间不确切的世界里看到的是，非常悲惨的杀人记忆。绝对性的以世界观来展示冲击性的高速度新感觉的推理小说。入侵到人的大脑是一看点，不仅有强烈的sf色彩的作品，更描述了我们每个人的心中都阴影，希望愿望等新型的人间剧..

　　中国容华杂技团有一个尽人皆知的动物明星，它就是会打棒球的低地大猩猩灵灵。受老团长影响，灵灵很早便学习击打棒球，而从小和它一起长大的15岁驯兽师赵薇薇（徐娇 饰）与灵灵合作默契，并且能够用人类和猩猩的语言交流。可是老团长为了让山地大猩猩雷霆和灵灵组成击打组合而债台高筑，在他去世后，薇薇以柔弱的臂膀支持着杂技团的运营，却渐渐被债主逼到绝境。危急时刻，韩国职棒的金牌经纪人成忠秀（成东日 饰）找到薇薇，他花言巧语，邀请灵灵以正式球员的身份加入积分垫底的韩国斗山队。为了早日还清债务，薇薇带着灵灵背井离乡，展开了一段前途未卜的职棒之旅……
　　本片根据韩国漫画家许英万的原作《第七个球队》改编。

　　The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

　　1940年5月，法国在与德国军队的对抗中，陷入了被动的局面，可能会随时战败。查尔斯临时接到命令：他刚刚被任命为军队的将军并且需要立刻启程，前往战场前线指挥战斗。他不得不离开自己的妻子和三个孩子，把家人安顿好后，他放心地离开了。但一场战役打下来后，查尔斯感到十分吃力和担忧，害怕自己没有能力带领众多法国军人取得战争的胜利，同时他也担心自己的家人，想尽快结束这场战争，回到家人身边。在一次军事讨论会上，贝当一直对法国能在与德国对抗中取得胜利持有怀疑态度以及消极情绪，他主张接受希特勒的建议：德法两国进行谈判。查尔斯知道，即使谈判，法国依旧处于被动的一面，所以他主张继续反抗。而这时，查尔斯得知自己的家人与军队失去了联系，在逃亡途中，和成千上百个法国家庭一样，他们被德军俘虏了，是生是死至今不明。这更坚定了查尔斯继续战斗的信念，这不仅仅是为了自己的家人在战斗，更是为了守护法国这片国土，还法国人民一个和平、安稳的生活而战。