主演：桑德里娜·博内尔
导演：雅克·里维特
简介：新浪潮老将里维特的雄心大作，分战争篇和监狱篇上下两部。本片以德莱叶和布列松为目标，希望成就新的经典。 传奇历史事件「圣女贞德」发生时，以文字记述事件流传出去的方式尚未普及，因此事件留下来的属于史实的原始记录非常的少。但是圣女贞德的故事，却不断出现在文学作品、舞台剧、歌剧（神剧）与各种电影版本中，这背后一定是有它的原因的。该片讲述圣女贞德从被俘，到被审判，直至最后被处死的过程。在1430年5月23日的一场小规模战斗中，贞德被俘虏了。当她下令军队撤退回贡比涅城时，她处在军队的最后方以确保所有人都退回了城里，但就在这时贡比涅城因为害怕英军跟着闯入，没等到所有部队撤回便将城门关下，贞德与剩余的后卫部队便遭到了勃艮第人俘虏。最后法庭总结了贞德的12项罪行指控，但这些指控都和在审判中的纪录相互矛盾。在各种方式逼迫之下，不识字的贞德没有意识到死刑的逼近，签下了一份她完全看不懂的公开弃绝书。贞德还有另外一个罪名：像男人一样穿衣服。这在1431年可是一项大罪。贞德在战场上穿的是甲胄，但是在军营里却穿的男装，据记载，她穿的是一种很短的灰色的束腰外衣，套在朱红布料做的、织的很密的长筒袜子上面。那个时候还没有橡皮筋，男子的长统袜的顶端都开有成对的扣眼，中间用绳子串起来系紧。一般人用七种以上的花色来系这种袜子，而贞德用了20种，而且还系得很紧。主要是为了保护自己“奥尔良少女”的身份。在监狱里，贞德宣称，没有紧身的袜子，她感到很不安全，她要和教廷抗争到底，准备接受自己的命运。后来，她被套上一身长袍。行刑时，她没有遗言，只是向敌人发出了嘲笑。死刑于1431年5月30日在鲁昂进行，目击者描述了死刑的那一幕。贞德被绑在火刑柱上，她不断的祈祷著，并向旁边的神父请求让她握著一个小十字架。
主演：玛丽昂·歌迪亚,菲烈·卡特林,让·雷谢夫,奥利维埃·古尔梅,马克-安德烈·格隆丁,伯利·兰内尔,安妮·考森斯,玛莎·格莱农,卡洛斯·阿拉斯拉奇,维克托·勃兰特,马克·卡马乔,保罗·吉亚玛提
导演：克里斯汀·丹米尔斯,弗兰克·叶根吉
简介：安锡动画节最佳电影，被誉为不会令细路欲求动画公仔，而是令世界更美好的电影。20 世纪中拿破仑五世统治的另一个法国，科学家70 年来不断失踪，飞行、电力甚至电影等伟大发明都成泡影，只有艾菲尔建起了第二座铁塔。煤与蒸气把天空弄得乌烟瘴气，出街要戴防毒面具，大皇宫变大温室。阿菲（玛莉安歌迪雅美丽声演）父母是科学家，也无端失踪，当老猫达尔文病到七彩，阿菲偷偷研制不死药，却因此逃亡历险，牙尖嘴利的达尔文、主意多多的怪爷爷、变节特工祖利亚也一起有难同当。《我在伊朗长大》监制再接再厉，法国漫画家Jacques Tardi 原著，糅合凡尔纳和宫崎骏的灵光，以罕见的怀旧动画风，找回失落的动画年代。
主演：Danièle,Gaubert,Serge,Gainsbourg,Richard,Leduc
导演：Robert,Benayoun
简介：This film marks the directorial debut of Robert Benayoun. An artist (Richard Leduc) attending a party smokes some dope and develops the ability to see into the future and the past. He returns to his apartment where he sees the vision of a woman who had lived there 30 years ago. A friend tries to convince him it is his heightened sensitively as an artist that allows for the newfound abilities, but he soon has psychedelic hallucinations and his abilities increase with time. Stop-motion photography is effectively used in his sequence of visual experiences where the people exist but not the city in this metaphysical story.
主演：内详
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：马立克·兹迪,德米特里·斯托罗奇,弗朗索瓦·西维尔,Nassim,Si,Ahmed
导演：尼古拉斯·布赫里夫
简介：Sam, journaliste indépendant, profite de sa culture musulmane pour infiltrer les milieux intégristes de la banlieue parisienne. Il se rapproche d’un groupe de quatre jeunes qui ont reçu pour mission de créer une cellule djihadiste et semer le chaos au cœur de Paris.
主演：萝拉·克雷顿,斯坦尼斯拉斯·莫哈,阿黛拉·哈内尔,薇拉莉·邓泽里,Ferdinand,Régent,Barthélémy,Guillemard,安托万·夏佩,玛丽莲·坎托,瑟奇·伦科,弗雷德里克·皮耶罗,帕斯卡·切尔沃,米歇尔·莫雷蒂,Stéphane,Bouquet,Gaëlle,Obiégly,Thomas,Clerc
导演：Valérie,Mréjen,Bertrand,Schefer
简介：Iris, seize ans, vit la fin de son adolescence dans une petite ville de province lorsqu'elle rencontre par hasard Jean, un photographe parisien d'une quarantaine d'années. Au fil des rendez-vous, leur relation se transforme en une amitié amoureuse qui bouleverse leurs vies.
主演：丹尼尔·居扬,Gilles,Chitlaphone,让·帕热斯,埃里克·阮
导演：拉契得·波查拉
简介：This movie is also called "Dust of life" in English and was made by Alex Bouchareb in 1994.In 1975, 3 kids decide to escape a reeducation camp in the Vietnamese equatorial forest near Cambodia where the Amerasians are imprisoned, tortured both mentally and physically. Son, the hero is sent in that camp after her mother fails to find his father to send him away to America.Search the web for the title to find more information. You can find the poster of the movie on cineposters dot com.Kind of reminds me of Papillon or the Killing Fields though maybe a notch down in terms of realization... This movie is based on facts from the after war.
主演：马克斯·布博里尔,Adam,Nemet,阿里·阿比唐,热拉尔丁·纳卡什,热拉尔·达尔蒙,帕特里克·坦西,马利克·班泽拉,Benjamin,Blanchy
导演：安东尼·马尔西阿诺
简介：Robin和他搭档非善类 就只偷老 弱 妇女 偷其他人对他们来说风险太大 他们也有梦想 就是买下镇上最受欢迎的妓院 为了筹钱 他就联合别人抢了小镇的税收 却遇到了森林里的义贼他们是劫富济贫的 一起骗 最终识破Robin的骗局 让其做苦力补救 后来又帮忙释放国王夺回小镇Robin des Bois est un sale type. Lui et son compère Tuck ont une éthique très claire dans la vie : ils ne volent que les pauvres, les femmes ou les vieux. Le reste ? Trop risqué. Mais même les sales types ont des rêves, et le leur est de racheter la maison close la plus courue de la ville, le Pussycat. Robin, que rien n’arrête lorsqu’il s’agit de s’enrichir, décide alors d’aller chercher l’argent là où il se trouve et projette de dévaliser la caisse des impôts de Nottingham. Mais sa rencontre avec le gang de Sherwood, des justiciers qui eux volent les riches pour donner aux pauvres, va contrarier ses plans. Petit Jean, Marianne et leurs amis ont en effet eu exactement la même idée que lui : braquer le Shérif de Nottingham. La (vraie) légende de Robin des Bois peut enfin commencer ! （allocine）
主演：伊莎贝尔·于佩尔,碧翠斯·黛尔,帕特里斯·夏侯,罗纳·哈特纳,莫里斯·贝尼舒,奥利维埃·古尔梅,布里吉特·罗安,卢卡·比斯孔贝,Hakim,Taleb,阿娜伊斯·德穆斯蒂埃,塞尔日·里亚布金,Maryline,Even,弗洛伦斯·卢瓦雷·卡耶,布兰科·萨马罗夫斯基,丹尼尔·杜瓦尔
导演：迈克尔·哈内克
简介：伊莎贝尔·于佩斯饰演的安娜，一家四口从城市逃难到乡下，发觉自己的村屋给人占去。争执中丈夫被杀，安娜带着子女流离失所，途中儿子还给一流浪少年扣留。后来到了一个火车站，很多人在苦候，望火车把他们带到安乐郷。安娜听说有一班宗教义士，奉献自己以拯救人类，连她儿子也甘愿受祭。人在极端环境里不见得只剩下狼性。汉尼卡的风格有份严峻之美，正为杜绝滥情，从人之不仁中发现希望。
主演：弗朗索瓦·达密安,樊尚·马凯涅,蕾雅·德吕盖,米歇尔·奥蒙
导演：多米尼克·摩尔
简介：马尔斯（弗朗索瓦·达米昂 François Damiens 饰）是一名名不见经传的小小程序员，按时上班下班，回家吃饭睡觉，他的每一天都在循规蹈矩之中度过。个性非常普通的马尔斯从来都不会给人留下什么深刻的印象，因此在岗位上也很难得到上司的重用。和马尔斯不同，马尔斯的妻子米莉亚姆（蕾雅·德吕盖 Léa Drucker 饰）是一个彻头彻尾的工作狂，整日将全部的精力都挥洒在岗位上，于是，照顾两个孩子沙拉（Jeanne Guittet 饰）和格雷古瓦（Tom Rivoire 饰）的责任就落在了马尔斯的肩上。马尔斯对这两个孩子可谓是毫无办法，大女儿沙拉和母亲一样总是沉浸在自己的世界中，整日足不出户。而格雷古瓦在某一天突然宣布他要成为一名素食主义者。
主演：朗贝尔·维尔森,波利娜·布伦纳,安妮-玛丽·卢珀,皮埃尔·巴顿,多米尼克·莫林,布丽奇特·维图德斯,帕特里斯·梅勒内克,费奥多尔·阿特金,扬·勒·马迪克,伦纳德·卢夫,文森特·格拉斯,帕特里斯·多齐尔,雅克·西龙,佩蕾特·普拉迪耶,福里斯特·惠特克,麦肯吉·弗依,劳伦·白考尔,保罗·吉亚玛提,威廉姆·H·梅西,梅根·莫拉莉,尼克·奥弗曼,杰弗里·怀特
导演：斯特凡·奥比尔,文森特·帕塔尔,本杰明·雷内
简介：一份跨越种族的深厚感情，一次直触心底的神奇旅程。从小生活在孤儿院的小老鼠赛娜几经波折，终于从地下鼠国逃出。可是当她跌跌撞撞地来到熊的王国时，却一路受尽鄙夷和白眼。疲惫的小赛娜沉沉地睡在垃圾桶里，一觉惊醒后发现一只体型硕大的大熊正要把她当作晚餐。然而经过此次的风波后，两人很快成为了朋友。原来这只名叫艾特的熊先生是名街头音乐家兼马戏团演员，多才多艺的艾特还从事过很多职业。热情的艾特带着赛娜到家里住，他们彼此扶持理解，相互鼓励帮助。一份看似不可能发生的友谊，正在挑战着现有的秩序和规则，也正慢慢变得越来越深厚坚实。《艾特熊和赛娜鼠》以温馨的水彩手绘画风和治愈系的内容剧情，荣获2013年第38届凯撒奖最佳动画片，入围2013年第3届北京国际电影节国外展映单元及2012年多伦多电影节“儿童片”展映单元。《艾特熊和赛娜鼠》系列绘本由比利时女作家嘉贝丽·文生创作，多种版本在世界各地畅销200多万册，深受孩子们甚至是成年人的喜爱。
主演：雅克·维列雷,安德烈·杜索里埃,蒂埃里·莱尔米特,伯努瓦·马吉梅尔,Suzanne,Flon
导演：让·贝克
简介：普泽（雅克·维列雷 Jacques Villeret 饰）是当地一名受人尊敬的小学老师，他还有另一个身份——小丑。一到星期天，他就带上家当，在戏团里表演令人捧腹的小丑独角戏。儿子鲁西恩十分不理解他这种行为，觉得父亲的表演令他难堪。普泽的好朋友安德（安德烈·杜索里埃 André Dussollier 饰）看出了鲁西恩的心思，于是向他讲起了一段往事。二战期间，在法国的一个小镇上，普泽和安德为了讨好他们心仪的一个姑娘，决定当一回抗战英雄。夜里，他们把德军占领的铁路设施炸毁了，同时也炸伤了一名法国老工人。不久，德军为了揪出凶手，就随机抽取四个本地男人作为人质，如果真凶不来投案，就枪决人质。不幸的是，普泽和安德也被抽中。人质被囚禁在一个深坑里，就在他们又冷又饿之时，坑口上出现了一个德国士兵。他对着四人做出各种滑稽动作，还把食物扔给他们，他说自己以前是马戏团里的小丑……
主演：马修·阿马立克,Rhizlaine,El,Cohen,Stéphane,Terpereau
导演：达米彦·奥图
简介：Paris, August: Driven by his lust, Richard O. explores the sinuous mysteries of eroticism and the women who populate the summer months.
主演：莫妮卡·贝鲁奇,文森特·卡索,艾尔伯特·杜邦迪,乔·普雷斯蒂亚,菲利普·拿翁
导演：加斯帕·诺
简介：整部影片用倒带一样的叙述方式，不断往前追溯，令人感到宿命的不可逃避。爱里克斯（莫妮卡•贝鲁齐 Monica Bellucci饰）亮丽性感，独自行走在城市的地下道，却被酒醉的歹徒盯上。歹徒残忍的对她强暴施虐，让她美丽的脸庞变得血肉模糊。于是， 她的服了摇头丸的男友马尔克什（文森特·卡塞尔 Vincent Cassel 饰），带着朋友闯进各式各样的酒吧，寻找凶手报仇。他们意识接近失控，举起灭火筒猛砸疑凶脑袋。然而，就在这些血腥的事件之前，爱里克斯和男友过着幸福生活，他们感情甜腻，爱里克斯腹中还有了男友的孩子。然而，在接下来的12个小时里，所有的线索，都不可撤消的把爱里克斯引向了那个噩梦般的深渊。
主演：莎拉·阿德勒,娜德·蒂约,Rony,Kramer,Simon,Eine,让-克里斯托夫·布维,George,Aguilar,Ferlyn,Brass,Leticia,Gutiérrez,Aline,Schulmann,让-吕克·戈达尔,胡安·戈伊蒂索洛,Mahmoud,Darwich,Jean-Paul,Curnier,Pierre,Bergounioux,Gilles,Pecqueux,拉娜·巴里奇,Sanja,Buric,Alena,Dzebo
导演：让-吕克·戈达尔
简介：Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times.頑皮老頭高達在新作挑釁如常，堅持如舊，對電影愛情如一，但從形式到內容，卻續有新境。比前作《愛之頌》更練達更擊中要害，是他近年最激的反思作品。三段結構的開篇〈地獄〉，戰地實錄與荷里活戰爭片交替，寓意彰甚：人類真會嗜戰。〈煉獄〉借薩拉熱窩做說書人，真實與虛構人物（包括高達自己）到此舉行文化圓桌會議，大家在寬恕迷宮中兜轉，唯有佇立已修復的莫斯塔古橋，才感一絲希望。高達最後領我們到〈天堂〉，人間竟有春色如許？但-有美軍駐守！全片最動人一幕：學生問 DV 可否打救電影？高達哀哀面向鏡頭，良久不語......
主演：Serge,Renko,卡特琳娜迪达斯卡鲁,谢丽埃勒·克莱尔,阿曼达·朗格勒,埃马努埃尔·萨兰热
导演：埃里克·侯麦
简介：以上世纪西班牙內战为背景的政治惊悚片，前沙皇将军菲欧多带着妻子移居巴黎后，过着神秘的生活，在公产主义者受到压制的法国，菲欧多却公开声称自己的真实身份是间谍，而且是个三重间谍，同时服务于俄国的白军和红军，甚至德国的纳粹军。1936年的欧洲，正值西班牙内战时期。身为前任沙皇军队将军的费欧多携着他年轻的希腊妻子阿茜诺一同移居巴黎。法国人对战争漠不关心，只管取笑西班牙人。阿茜诺同情她的共产主义邻居，费欧多的态度却很暧昧，他频繁地外出，谁也不知道 他去了哪里，做了什么，他还公开宣称自己是间谍。他究竟是为谁工作的？他是忠于沙皇的白军？红军间谍？纳粹分子？还是个三重间谍？
主演：艾美达·斯丹顿,理查德·格拉翰,埃迪·马森,吉姆·布劳德本特,莎莉·霍金斯
导演：迈克·李
简介：故事发生在1950年的英国，战争给城市造成了巨大的伤害，在一片混乱中，一个名叫薇拉（伊梅尔达·斯汤顿 Imelda Staunton 饰）的女人与丈夫和儿女们勉强过着平静安定的生活。表面上看来，维拉是一个清洁女工，但一个秘密被深深的隐藏在她的心底。在空余的时间里，薇拉会通过好友莉莉（鲁斯·西恩 Ruth Sheen 饰）提供的手术室，帮助在战时怀孕的妇女堕胎，而之一举动在当时的英国是违法的。雷吉（埃迪·马森 Eddie Marsan 饰）的加入为薇拉的家庭又增添了一份快乐，他和薇拉的女儿埃塞尔（Alex Kelly 饰）的婚礼让所有人的面孔上都蒙上了喜气。在婚礼进行之时，门被敲响，可是，到来的并非友好的祝福，却是警察的逮捕，薇拉的所作所为被公之于众。
主演：Omar,Sharif,伊莎贝尔·阿佳妮,伊莎贝尔·阿佳妮,Isabelle,Adjani
导演：François,Dupeyron
简介：15岁的以色列小男孩莫塞斯（Pierre Boulanger 饰）和父亲（Pierre Boulanger 饰）住在巴黎蓝色大道一幢贫穷脏乱的公寓中。母亲（Isabelle Renauld 饰）离家出走，父亲整天沉迷于书本，还编造出一个并不存在的优秀的哥哥打击莫塞斯。本该享受童年快乐的小男孩压抑阴郁，在附近的流莺献出了自己的第一次。莫塞斯去附近的土耳其穆斯林亚伯拉罕先生（Omar Shariff 饰）的杂货店里偷盗，被亚伯拉罕发现。和蔼的老人原谅了眼前这个小男孩，并亲切地向他传授知识，一老一少从此展开一段弥足珍贵的忘年交……
主演：杰瑞米·卡彭,卡瑟琳·雅各布,玛丽-克劳德·皮塔卡拉,科洛·克莱沃,费利克斯·莫阿蒂
导演：亚历山大·布斯蒂罗,朱利安·莫利
简介：年轻女孩露西·克莱沃（Chloé Coulloud 饰）在某看护机构找到工作，她上班的第一天即是前往一幢位于郊外密林深处的古老别墅，照看在那里陷入深深昏迷并依靠医疗设备维持生命的前芭蕾舞教师德博拉·杰塞尔（玛丽-克劳德·皮塔卡拉 Marie-Claude Pietragalla 饰）。传说这幢别墅里藏着价值连城的宝贝，露西在男朋友威廉（Félix Moati 饰）的怂恿下，和他们的朋友本（Jérémy Kapone 饰）在一个万圣节的晚上潜入别墅寻宝。然而经过一番寻找后却发现，别墅内除了杰塞尔夫人似乎还有其他人的存在，而那正是夫人本应早已死去的女儿。匪夷所思的恐怖事件接连发生，露西他们将经历了永生难忘的一夜……
主演：Marie-Claire,Olivia,Yvonne,de,Bray
导演：Jacqueline,Audry
简介：大概是法国第一部描写女同志的故事片吧。Olivia (also known as Pit of Loneliness) is a 1951 French film directed by Jacqueline Audry. It is based on the 1950 semi-autobiographical novel by Dorothy Bussy. It has been called a "landmark of lesbian representation". Olivia arrives at a finishing school and falls in love with headmistress Mlle. Julie. Mlle. Julie feels the same, but tries to suppress her desire. For her part as Mlle. Julie, Edwige Feuillère was nominated for a BAFTA award for Best Foreign Actress in 1952.French director Audry made 18 feature films from 1944 to 1972. Her earliest films are prime examples of the French 'tradition of quality.' She favored plots adapted from French literature. Audry is most distinguished from her peers in that her films were primarily focused upon female leads, whereas traditional French cinema is centered around the lives of men. Her most notorious film was 1951's Olivia, which dealt with lesbian relationships.
主演：艾米莉·德奎恩,法布里齐奥·隆吉奥内,安妮·耶和诺,奥利维埃·古尔梅,伯纳德·马尔拜,弗雷德里克·波茨,弗洛里安·德兰,克里斯蒂安·多瓦尔,米雷耶·巴伊,托马斯·克拉,莱昂·米肖,维克多·玛丽特,科莱特·赫什布,克莱尔·蒂凡尼,索菲·勒布特
导演：让-皮埃尔·达内,吕克·达内
简介：对于在贫穷中挣扎的人们，活下去就是人生最大的意义。18岁的萝赛塔（艾米莉·德奎恩 Émilie Dequenne饰）就是这么一个命运多舛的女子。她的母亲是个自暴自弃的酒鬼，没有谋生能力，沉湎于和底层男人们的性事当中，生活的担子，完全落在了萝赛塔的肩上。母女俩住在流动车上，萝赛塔还没能找到固定的工作，但她的心底却有着倔强的求生意念。在这样恶劣的人生境遇中，为了求得一份工作，她甚至不惜与唯一的朋友交恶。只因友情在生存面前显得太过脆弱。命运没有眷恋这个顽强的少女，她终于在人生的半路陷入崩溃，选择自杀。然而，命运又一次给了她无情的嘲笑。
主演：Paul,Blain,Marie-Christine,Friedrich,Victoire,Rousseau,Constance,Rousseau,Carole,Franck
导演：米娅·汉森-洛夫
简介：维克多（Paul Blain 饰）和妻子安妮特（Marie-Christine Friedrich 饰）结婚多年，两人共同养育着女儿帕梅拉（Victoire Rousseau 饰），一家人住在风景如诗如画的维也纳，日子平静之中充满了幸福。然而，让安妮特没有想到的是，维克多竟然沾染上了毒品，整日和毒贩们厮混在一起。回到巴黎后，维克多不仅没有改邪归正，反而变本加厉，一个幸福美满的家庭眼看着就要毁于一旦。在发现维克多不可能改变后，安妮特果断的带着帕梅拉离开了家，两人相依为命，隐姓埋名的生活着，一晃眼就是十一年过去。彼时的帕梅拉已经成长为了亭亭玉立的大女孩，童年时代不幸的经历让她对父亲充满了愤怒和怨怼。当帕梅拉得知自己的父亲依然活着，并且就和自己生活在同一个城市后，她决定去见一见他。
主演：Emile,Abossolo,M'bo,Youssouf,Djaoro,Dioucounda,Koma
导演：马哈曼特-萨雷·哈隆
简介：亚当（Emile Abossolo M'bo 饰）曾是一名非常优秀的游泳运动员，还得到过冠军的荣誉，如今，年近60的他早已经告别了赛道退出舞台，现在的亚当，是一家豪华酒店里的泳池救生员。因为酒店经营不善，导致遭人收购，被收购之后，一切亚当早已经习以为常的事情都开始发生了变化。首当其冲的就是他遭到了变相的解雇，需要将职位拱手相让给自己的儿子阿比代尔（Youssouf Djaoro 饰）。这个国家此时正在进行残酷激烈的内战，政府强制性的规定每一家都必须出钱或者出力。亚当一贫如洗，想要出钱是不可能的，那么，他就只剩下阿比代尔可以“奉献”给他的祖国了。
主演：嘉莲·维雅,凯德·麦拉德,科洛·克莱沃
导演：Carine,Tardieu
简介：叛逆粗鲁的15岁少女露露（Chloé Coulloud 饰）和父母生活在法国幽静的乡村中，母亲茱莉叶特（Karin Viard 饰）体弱多病，在露露的记忆中，母亲从未展露快乐的一面，并且经常在夜晚独坐在长椅上，若有所思。偶然机会，露露在地窖发现一张母亲年轻时的照片，相片中母亲裸露上身，笑容灿烂。不久露露从外婆家翻到了一卷录像带，年轻时的母亲和一个名叫雅克（Kad Merad 饰）的英俊兽医相爱，无忧无虑，天荒地老。知道了母亲闷闷不乐的缘由，露露决定安排二人重逢，她原指望如今老而丑的雅克能击碎母亲的幻想，却未想到反使这对老情人的爱火重燃……
主演：西瑟·巴比特·科努德森,伯努瓦·马吉梅尔,菲利普·乌禅,古斯塔弗·科文,巴勃罗·保利,埃里克·托莱达诺
导演：艾玛纽尔·贝克特
简介：Dans son hôpital de Brest, une pneumologue découvre un lien direct entre des morts suspectes et la prise d'un médicament commercialisé depuis 30 ans, le Mediator. De lisolement des débuts à lexplosion médiatique de laffaire, lhistoire inspirée de la vie dIrène Frachon est une bataille de David contre Goliath pour voir enfin triompher la vérité.
主演：阿克坦·阿布德卡雷科夫,塔莱卡·阿比祖巴,Askat,Sulaimanov,Asan,Amanov,Stanbek,Toichubaev
导演：阿克坦·阿布德卡雷科夫
简介：The main hero of the film is an electrician with a far greater effect on the people around him than his job defines. He is the last link in a huge energetic system and he becomes the binding bridge between the geopolitical problems of post-soviet space and the common people.The economic devastation of the country had an enormous impact on the industrial workers and yet despite the upheaval, these people did not seize to love and suffer, to have and be friends and to enjoy their lives… In particular our resilient electrician, who possesses a wonderful and open heart. He not only brings electric light (which is often out) to the lives of the inhabitants of this small city, but he also spreads the light of love, loyalty, life and mainly laughter.
主演：格雷戈瓦·勒普兰斯-林盖,达尼埃莱·莱布伦,格莱高利·嘉德波瓦,埃默琳·格,Nicolas,Bimont,Guy,Conrad,Nicole,David,Christiane,Guillon,Micheline,Levchin,Jacques,Treiner
导演：奥利维耶·特雷内
简介：阿德里安（Grégoire Leprince-Ringuet 饰）是一个学习钢琴已有15年之久的天才钢琴家，可是在梦寐以求的伯恩斯坦钢琴大赛上他功败垂成，人生跌落谷底。经过一段时间调整，阿德里安重新振作，成为了一名盲人钢琴调音师。事实上他只是带上了隐形眼镜，这会让别人认为他听觉方面更加敏锐，并由此得到更多的同情和消费，甚至还会窥视到别人的生活与隐私，他兀自沉浸在这种虽处闹市又仿佛置身世外的超然之中。某天，他来到一户人家工作，殊不知这里刚刚发生一起凶案……本片荣获2011年卢纹（Leuven）国际电影节最佳短片奖、2012年法国恺撒奖最佳短片奖。
主演：安塔·多布罗西,杰瑞米·雷乃,法布里齐奥·隆吉奥内,摩根·马林
导演：让-皮埃尔·达内,吕克·达内
简介：罗尔娜（艾塔·多布雷西Arta Donbroshi 饰）通过一桩移民婚姻取得比利时合法居住权，她和她那个跑遍欧洲打工赚钱的阿尔巴尼亚男友索科尔（Alban Ukaj 饰）最大的梦想就是存钱合开一家酒吧。瘾君子克劳迪（杰里米·雷乃 Jérémie Renier 饰）通过 与罗尔娜结婚帮她拿到比利时合法居民身份，同时他也从中间人费比奥（布里奇奥·罗吉恩 Fabrizio Rongione 饰）那里拿到一笔钱。中间人费比奥一边策划用过量毒品害死克劳迪的阴谋，一边和罗尔娜准备合作通过同样的方法使一个俄罗斯人成为比利时公民。在罗尔娜和克劳迪一起生活期间，居然生出几份温馨的感觉，汉尔娜决定尽快和克劳迪离婚从而让他免于一死。克劳迪因吸食毒品过量而死，罗尔娜按照原计划进行的相当顺利，可是她却感觉自己怀孕了，而且她告诉费比奥孩子的父亲是克劳迪。在2008年第61届戛纳电影节上，达内兄弟凭借此片获得主竞赛单元最佳编剧奖。
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