主演：Andrea Bacci Dario Marconcini
导演：让-马里·斯特劳布
简介：For Le Genou d'Artemide Jean-Marie Straub once again chose a dialogue by Cesare Pavese. And not just any dialogue, but one that tears open a painful, mystical abyss between love and the one left behind. The film is one single exhilaration and one single rush, a spell and dispersion into nature. It rises from a dark screen and chant to disappear in the woods with the whisper of the wind. It has little to do with what is generally called «cinema». It has one foot in the world beyond. Nature has ten million times the imagination of the most imaginative of artists. (Jean-Marie Straub)
主演：Günther Peter Straschek Danièle Huillet Peter Nestler
导演：让-马里·斯特劳布
简介：RFA197215‘VOSTF16mm d'après « I cani del Sinaï » de Franco Fortini.
主演：A·C·阿巴迪 George Barnes 唐纳德·加拉赫
导演：埃德温·鲍特
简介：两名强盗闯进一个火车站电报室内，强迫电报员给火车发出信号，后又将电报员捆绑起来。火车驶近后，强盗们偷偷地溜上火车。随后，强盗们逼停了火车，把车上的乘客都赶下了火车，将他们的钱财搜刮一空。得手后，四名强盗逃至草原分赃。而与此同时，一个小女孩救下了电报员，电报员随即赶到警察局报案。一批警察开始追击强盗，双方在草原上展开了猛烈火拼，最终四名强盗被一一击毙。 《火车大劫案》根据1900年发生在美国的一个真实抢劫事件改编，影片用14个场面镜头讲述了一个较为复杂的故事，是鲍特拍摄的第一部西部片。本片成为当时最受观众欢迎的影片，持续上映了十年。这部作品给美国电影带来一股新的“西部风”，西部片因此逐渐繁荣起来。
主演：威尔弗里德·布兰贝尔 Terry O'Sullivan Iain Munro Jeanne Doree
导演：特伦斯·戴维斯
简介：In sepia tones, the film moves back and forth among three periods in Robert Tucker's life he's an old man, near death, in a nursing home at Christmas time; he's in middle age caring for his cheerful but dying mother; he's a lad at Catholic school, practicing his catechism, going to confession for the first time, receiving the Eucharist, surrounded by the singing of a children's choir. In middle age, he looks through his scrapbook of photographs of muscular men; he recalls lovers and his mother's cremation. A nurse sits beside him on his last night; in his last breath, he reaches forward and back..
主演：凯尔·加尔纳 Kyle Gallner 格雷格·布瑞克 Alexis Santiago Erin Manker Jarrett Worley Adam Dorsey
导演：Barry Battles
简介：暂无简介
主演：芭芭拉·赫希
导演：彼特·契尔卡斯基
简介：Guy Maddin writes, Tscherkassky has made two films cannibalizing Sidney J. Furie's 1982 Barbara Hershey horror film THE ENTITY, the story of a woman who is continually assaulted and raped either by real ghosts or by awfully adept repressed traumas… The screen literally explodes with a tumult of Hershey faces, shattering Steve Burum's original cinematography into shards of frightened eyes, trembling hands and violent outbursts of self-defense, presented in multiple exposures too layered to count, too arresting to ignore.
主演：未知
导演：居伊·德波
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.
主演：西尔维娅·巴塔耶 雅内·马尔肯 安德烈·加布里埃洛 加布丽埃勒·丰坦 让·雷诺阿 乔治·巴塔耶 雅克·贝克 亨利·卡蒂尔-布列松 Jacques B. Brunius 阿兰·雷诺阿
导演：让·雷诺阿
简介：故事发生在1860年的巴黎，杜弗先生（安德烈·加布里埃洛 André Gabriello 饰）带着妻子（雅内·马尔肯 Jane Marken 饰）、女儿昂利艾特（西尔维娅·巴塔耶 Sylvia Bataille 饰），以及在店里帮忙的小伙计安纳道尔（Paul Temps 饰）一起前往乡间度假，他们的目的地是布兰叔叔（让·雷诺阿 Jean Renoir 饰）经营的小旅店。 乡间的景色十分的怡人，气温也恰到好处，吃过晚饭后，杜弗先生带着安纳道尔去钓鱼了，亨利（Georges D'Arnoux 饰）和赫多尔夫则陪着杜弗太太以及昂利艾特去湖上划船。哪知道杜弗夫人和赫多尔夫之间竟然碰撞出了激情的火花，而昂利艾特也难敌亨利的热烈攻势，顺势倒在了他的臂弯中。
主演：杰克·布莱克 达斯汀·霍夫曼 维尔·桑德里 埃蒙·皮鲁切罗 格雷斯·罗莱克 麦克思·科契 汤姆·欧文斯 卡罗尔·凯恩 约翰·迪·马吉欧 斯蒂芬·凯林 詹姆士·谢 梅勒迪斯·斯科特·林恩 杰西卡·迪西可 斯蒂芬妮·勒梅林 大卫·克罗斯 吉姆·卡明斯 塔拉·斯特朗 房祖名 兰德尔·杜克·金 伊丽莎白·安·本尼特
导演：许诚毅
简介：在阿波与太郎的战斗后，他在此教导新一批的功夫学生，他们是一群可爱的兔子， 学生们执意要学习战斗，阿波教导他们功夫中重要的是-信心，耐心，勇气，等等..。
主演：爱德华·阿斯纳 鲍勃·彼德森 乔丹·长井 西蒙·赫尔伯格 杰夫·皮金 莎拉尤·拉奧 Neketia Henry Heather Eisner Moon Choe
导演：鲍勃·彼德森
简介：该剧是皮克斯《飞屋环游记》衍生剧集，讲述狗狗小逗发现了郊区的危险因素，比如小狗、烟花还有松鼠。
主演：小野贤章 本渡枫 伊藤静 大和田仁美 内山夕实 稻田彻 胜生真沙子
导演：石井久志
简介：「勇者、辞めます」Blu-ray DVD特典 新作アニメーション エキドナと四天王と共に研修旅行に出掛けるレオ。 やってきたのは不気味な女将のいる寂れた温泉宿。 その夜、親睦を深めていた一行の前から、エキドナが忽然と姿を消す――
主演：洲崎绫 山崎巧 山冈百合 金子有希 长妻树里 山下百合惠 日高里菜
导演：山田尚子
简介：Blu-ray DVD特典动画短片，共6话，每话4分钟。 映像特典 『ぺったんこアニメ』は、BD DVD各巻に収録の映像特典短編アニメ。『デラ's BAR』は平面キャラになったヒロインたちがデラのバーに来る。『おっちょこチョイちゃん』はヘタウマ絵でチョイ・モチマ ッヅィが主人公。 巻数タイトル 1-3デラ's BAR 4おっちょこチョイちゃん そのいち。 おふろでチョイ。 5おっちょこチョイちゃん そのに。 デコってチョイ。 6おっちょこチョイちゃん そのさん。 恋してチョイ。 デラちゃんVSメカデラちゃん
主演：朝井彩加 福原香织
导演：未知
简介：BD DVD各卷收录的特典动画短篇，共6话，收录TV版未播放的一些场景画面。 卷数BD DVD发售日 12015年3月27日 22015年4月24日 32015年5月29日 42015年6月26日 52015年7月31日 62015年8月28日
主演：寺川爱美 大冢纱英 西本里美 大桥彩香 Ayaka Ohashi 伊藤彩沙 Ayasa Itō 相羽爱奈 明坂聪美 远藤祐里香 工藤晴香 樱川惠
导演：大槻敦史
简介：夏休みに入り、5人はいつもの蔵で宿題中。なかなか終わらない宿題に疲れた香澄はどこかに出かけようと発案する。各々好きな場所を上げた結果、沙綾が提案した海に向かうことに。そのころRoseliaメンバーも海の近くのコテージでバンド合宿練習をしていた。作曲に行き詰まる友希那を見たリサが、気分転換に海に行こうと誘う。
主演：中原麻衣 雪野五月 田村由香里 金井美香 保志总一朗
导演：今千秋
简介：作为《寒蝉鸣泣之时》DVD全9巻购入者特典的“猫杀篇”OVA动画。片头、片尾曲和“寒蝉鸣泣之时”动画（第一期）相同。 前原圭一和其他社团成员玩扑克牌游戏，规则是输家接受惩罚，穿着女仆装、泳装等在村里进行Cosplay游行。游戏结束后，大伙步行到雏见泽村郊外的谷河内。园崎魅音说起她幼年时有一回和伙伴们到采石场附近玩捉迷藏，不久即被一位突然出现的大叔催赶回家，后来伙伴A行踪不明，A的父亲驱车前往谷河内寻找，不料在回程的途中2人的汽车翻落山崖。有传言说他们是因为吸入了从连通地狱的洞穴渗漏出来的瘴气而中毒……
主演：Autumn Durald Arkapaw Guillermo del Toro Peyton Hall
导演：Angus Wall
简介：Guillermo del Toro, Rian Johnson and other film luminaries look back at LA's historic Egyptian Theatre as it returns to its former movie palace glory.
主演：凯莉·玛丽·陈 马特·兰特尔 比利·迪·威廉姆斯 迪·布拉雷·贝克尔 汤姆·凯恩 詹姆斯·阿诺德·泰勒 安东尼·丹尼尔斯
导演：Ken Cunningham
简介：[乐高星球大战：圣诞特别篇]释出海报！该特别篇讲述雷伊继续她的绝地武士训练。她在一座绝地神庙中遇到了一些神秘的东西，让她在时间中飞驰，遇到了星战传奇人物，并参观了过去的一些地方，但她还是必须为了生命日回家。凯莉·玛丽·陈、比利·迪·威廉姆斯、安东尼·丹尼尔斯分别为罗斯·蒂可、兰多、C-3PO配音。该特别篇将于11月17日登陆Disney+。
主演：詹姆斯·厄尔·琼斯
导演：George Casey
简介：塞伦盖蒂是非洲坦桑尼亚的一大片草原。每年一次，在干旱时期，大约有200万只像羚羊这样的动物向北迁徙觅食和交配，然后在那里的植物开始开花时再次向南迁徙。 当我们想到非洲时，坦桑尼亚的塞伦盖蒂平原就是我们所描绘的风景。数百万年来，生存的戏剧一直在这里上演，每年都有数百万只羚羊迁徙穿过这片广阔的草原，到达新鲜的牧场并交配。by:www.2kyb.com
主演：未知
导演：未知
简介：《零点零一公分的距离》时长30分钟，为泽东电影30周年量身而作，曾在今年4月第45届香港国际电影节《春光乍泄》展映后短暂亮相过1次，今日独家登陆腾讯视频，正式与大家见面。短片依然是以导演王家卫的方式打开，讲述作者受王导之托创作纪念短片并立下一蛋之约，于是耗时2年，去到很多地方，见过许多人，找回好多珍贵的底片，虽有一些已经修复不到，仍借由这支短片得以让曾经的擦身而过终再重逢。
主演：马克·伊瓦涅 乔普林·西伯顿 查尔斯·维恩 Erich Redman Nick Von Schlippe Pavel Ledinsky 丹尼尔·达顿·斯沃博达 Radek Bruna 夏洛特·兰普林 卡雷尔·多布雷 提摩西·吉布斯
导演：弗朗索瓦·阿洛 埃尔韦·德·克雷西
简介：这部影片仅有20分钟，可以说是一部微电影。据称为了这部影片，育碧公司为其投入了1亿美金，用于作为其游戏的前传进行宣传。剧中，4位幽灵小队成员，深入俄罗斯腹地，为了破坏一起武器交易，并同时刺杀其中的恐怖组织核心成员。行动按照原定计划，有条不紊地实施着。不过，当完成刺杀后在进行战场检查时，却发现这次的武器交易的武器是一套拥有极高杀伤能力的核弹头。而且弹头处于保险打开的状态，随时都可能被引爆。为了排除眼前的危机，幽灵小队临时决定在现场手动完成核弹头的拆卸工作。可是，拆卸工作并没有想象中的那么简单，由于需要破解发射程序，所以需要花费不少时间。这时，一对拥有高科技战斗装备的小队出现，一场恶战就此展开。
主演：迪迪埃·桑德尔
导演：Gérald Calderon
简介：一头钻进生命起源的中心，大格局的魅力、震撼加上迷人的音乐，生命的起源是探索生命从起始到脊椎动物第一次在乾燥陆地出现的那一刻，并开启征服大陆通道的惊人故事。生命的起源邀请我们参加一趟奇特的冒险：40亿年前在海洋中，从生命开始直到脊椎动物在乾燥陆地第一次出现并开始征服大陆通道那奇妙的一刻。影片有几段是利用超显微拍摄技术拍摄迄今仍然生存的生物，生命的起源，在第一种细菌出现后，展示了各种生命的形态。Bruno Coulais (Microcosmos, Himalaya)迷人的音乐加上令人叹为观止的音效搭配，更胜“海中颜面”，不禁拍案叫绝，本片特别邀请您到生命起源的中心来一探究竟。
主演：松冈祯丞 上田丽奈 沼仓爱美 大地叶 松本健太 岩崎了 古川慎
导演：吉浦康裕
简介：故事主人公本城彰男（松冈祯丞 配音）是一个乐感极好的普通中学生，听过一遍的曲子就能记下来，他暗恋着同班女生树里（上田丽奈 配音），却从来没有机会走进她的世界。两个本属不同圈子的人，被一首奇特的小曲牵引在一起。本城第一次触碰到树里的真实世界，发现了她柔软脆弱的一面。 一个关于人偶少女与人类少年的奇幻梦境，一直困扰着树里，让她深感孤独。而本城，因为那首奇异之曲，也开始梦到了相同的故事。每个人都有自己的世界，本城能否走进树里的真实世界中去？ 本作为日本“动画未来2014”四部参评作品之一，由日本三大独立动画制作人之一的吉浦康裕执导。
主演：Pascal Lamorisse 乔治·塞利耶 Vladimir Popov Paul Perey Sabine Lamorisse Michel Pezin Renée Marion
导演：艾尔伯特·拉摩里斯
简介：法国巴黎，孤独的小男孩帕斯克（Pascal Lamorisse 帕斯克?拉莫里斯 饰）独自走在上学的路上，他无意中捡到一只红气球。红气球仿佛一个淘气却又乖巧的孩子一般，紧紧跟随着小男孩去学校、坐车、上教堂。它为帕斯克带来了莫大的快乐，但是一群坏孩子嫉妒帕斯克有这么神奇的红气球，他们偷偷尾随，试图将气球打破…… 本片荣获1957年奥斯卡最佳原创剧本奖项、英国电影和电视艺术学院特别奖、1956年戛纳国际电影节金棕榈最佳短片奖、1956年路易德吕克奖。
主演：西蒙妮·玛勒伊 Pierre Batcheff 路易斯·布努埃尔 萨尔瓦多·达利 罗贝尔·奥梅
导演：路易斯·布努埃尔
简介：本片是超现实主义电影之父路易斯·布努埃尔和超现实主义画家萨尔瓦多·达利的跨界合作。表现的是人的梦境和潜意识。故事分两段，第一段开头，一个忧郁的男青年（路易斯·布努埃尔 Luis Bunuel 饰）坐在月光下，磨着剃刀，他抽着烟，等着年轻女孩出现。男青年拿着剃刀抚弄年 轻女孩的脸，用剃刀割开了她的眼球，同时乌云划过了月亮。第二段的时间设定在8年之后，马路上出现了一个骑着自行车穿着类似女装斗篷的男青年，他晕倒在一个女人的楼下，女人下楼来拿走了他手中的盒子，男人再也没有醒来。回到屋内后女人坐着沉思，另一个男人来敲门，手心布满了蚂蚁，当男人和女人在研究蚂蚁的时候，楼下一个穿着男装的女人正在拨弄一支断手，引起了路人的围观。随后女人的乳房、南瓜、修道士、钢琴、衣衫褴褛的男女纷纷出现在画面中，富有象征意义的梦境被一一展现。
主演：Camilo Levigne Raymond E. Lee Hugo Quiril
导演：Nicolás OnettiLuka HrgovicDino Julius
简介：在遥远的未来，一个神秘的男孩成为寻找新希望的核心人物。这孩子是谁？为什么大家都在找他？有时，最好不要知道某些答案。
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