备注：已完结
类型：剧情电影
主演：Chelsea Islan Hamish Daud Wyllie Mi
语言：印尼语
年代：未知
简介：这是一个关于英语家庭教师 Amira和脾气暴躁的巴达维男孩Juki之间的浪漫的爱情故事。Juki的另一个泰国女朋友Suchin让Amira她的英语教师告诉Juki，他们之间的感情结束了，因为她在美国找到了一个工作。在这期间她和Juki一直通过gestures联系。当Amira告诉Juki这个消息后，Juki无法接受，并且强迫Amira教他英语，然后去追寻Suchin。因为害怕Juki,Amira秘密地教他英语。与此同时，另一个男孩Taufan正在接近Amira。Taufan来自一个尊贵的家庭，说着一口流利的英语。尽管Amira喜欢和Taufan在一起，她却不得不和Juki， Yosef, Slamet, Subur 以及 Ning, Yosef’s 女朋友呆得更长。Taufan和Juki的世界是完全不同的。Amira与Juki相处的越长，她越来越喜欢...
备注：已完结
类型：剧情电影
主演：多米妮克·桑达 Guy Frangin Jeanne Lobre Cl
导演：罗伯特·布列松
语言：法语
年代：未知
简介：她典当最后的家当，一个金十字架，他震惊于她的美丽，多给点钱，她不肯要。美女与押店店主，一个珍视灵魂，一个贪求物质。错配的婚姻，开场已知结局：她用死亡换取自由。往后是押店店主第一人称故事，苦寻妻子自杀原因但徒劳，观众如堕迷雾，他自圆其说，画面故事益发绷紧。她的神秘，是布烈松的留白，观众的解读空间。导演爱把演员变“模特儿”，本次找来真模特儿杜明妮桑德，不因为她美，而是看中她的声线，但桑德的静，有澎湃感染力。布烈松第一部彩色，令温柔添残酷实感。
备注：已完结
类型：剧情电影
主演：Heinrich Hargesheimer Carlheinz Har
语言：其它
年代：未知
简介：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 B?ll’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 F?hmel 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 F?hmel 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.
