The story revolves around a G8 meeting, held at a luxury hotel on the German coast, where the world’s most powerful economists are gathered to enact important provisions that will deeply influence the world economy.
　　One of the guests is a mysterious Italian monk (Servillo), invited by Daniel Rochè (Auteuil), the director of the International Monetary Fund. He wants the monk to receive his confession, that night, in secret. But the next morning, Rochè is found dead.

　　The film which is based on the life on an Indian scientist Shivkar Bapuji Talpade, who is credited to have constructed India__APOS__s first unmanned plane is the tale of the hardships that he went through on the journey to discover. Also the film is set in the pre-independence era of Bombay of 1895.

　　小儒 (查雅妮 饰)在艺术家父亲过世后继承了两幅毁损的女子画像，她找来艺术品修复师提姆(尼坤 饰)修复这两幅作品，以便转售赚取医治女儿眼疾的费用。修复过程中，陆续发生一桩桩无法解释的恐惧事件，宛如解开了封印在画作中的骇人秘密…小儒开始恶梦连连产生幻觉、女儿出现一些令人不寒而栗的异常行为、威胁生命的意外更不断发生…究竟画中隐藏着甚么恐怖秘密？画中女子到底是谁？她有甚么样的冤情与怨？视而不见真的能全身而退？

　　该片为澳大利亚导演Goran Stolevski的长片处女作。故事讲述在19世纪马其顿的一个偏僻山村，一个生活在森林的年轻女巫对人类的生活充满了好奇，她意外地杀死了一个村民，然后用这位村民的皮肤装扮成了人类，这也完全激发了女巫的好奇心，她想要装扮成不同的人类来生活。

　　戴夫（伊尔凡·汗饰）是公司的黄金推销员，一直同美丽的妻子瑞娜（基尔蒂·库尔哈丽饰）过着不咸不淡的日子，辛苦而又沉闷。一天，老板宣布由戴夫挂帅公司新产品——新型卫生纸的销售战役，各种准备工作紧锣密鼓地展开；同时戴夫提前回家想给老婆一个惊喜，不料撞到家中的私情，戴夫决定勒索老婆的情人以应生活之需。于是，销售战役和勒索行动两条线索交叉展开，各种笑料精彩纷呈。

　　影片描述一位出版社编辑在火车上遇见一名精神科医师，两人各自分享离奇经历，故事尚未说完，医生却消失无踪，一则比一则怪诞的故事开始展开。

　　在妈妈出国期间，一名18 岁的女孩从她一直生活的嬉皮士社区偷溜到了现实世界，寻找自己的生父。

　　达乌德是一位无拘无束，不被世俗所理解的年轻人。他一心想要寻找自己“真正”的家庭，坚信只有他们才能带给他爱和希望。在不幸卷入一场纷争后，达乌德踏上了一趟始料未及的逃亡之旅。一路上，他遇到了形形色色的人，目睹一场接一场的“意外”，成为了死神的代言人。在潜意识与当下的碰撞之中，这趟奇幻旅程愈发扑朔迷离。师从贝拉·塔尔，曾凭借《柿子生长时》入围2019年金椰奖纪录片竞赛的阿塞拜疆新锐导演希拉尔·贝达罗夫，其剧情片新作《死于之间》首度入围威尼斯电影节主竞赛单元。

　　圣诞节的家庭聚会上，年轻情侣斯特凡和海科向父母宣布他们购买了一艘船，决定环游世界。他们一路欢声笑语，领略各地风光。然而当他们来到玻里尼西亚后，美好的一切戛然而止。斯特凡跟随一位名叫阿里哈诺的当地男人狩猎未归。海科从阿里哈诺口中得知爱人受伤，匆忙随他前去，结果险些被他奸杀。逃出生天的海科求助警方寻找斯特凡。警方在多日调查后发现斯特凡已被肢解后焚烧，而阿里哈诺不见踪迹。看到爱人已被烧成一片灰烬的海科心痛不已，决定不再继续航行。刚刚回到家中的她便被铺天盖地的记者包围，众人都希望获悉斯特凡死亡真相。在母亲和姐姐的陪伴下，海科试着抚平心中的创伤，并且决定接受汉堡新闻记者哈特曼的采访道出真相。这时，玻里尼西亚的警官也为海科带来好消息，阿里哈诺被捕。在哈特曼的陪同下，海科见到了沉默不语也拒不认罪的阿里哈诺。但证据确凿，哈里哈诺被判28年有期徒刑。阿里哈诺的父亲为表歉意，邀请海科参加专门为斯特凡举行的告别仪式。海科决定暂时留在玻里尼西亚缅怀爱人。后来，她带着自己写下的书《蓝水-天堂梦魇》回到德国。@m.yakutv.cc

　　在海滨小镇度过暑假时，16岁的丹妮兹希望俘获童年时期暗恋对象的芳心，却因此陷入三角恋

　　Coming as it does from the depths of the Stalinist regime, the Russian Road to Life is a remarkably optimistic film. A host of nonprofessional children are cast as Moscow street kids, left homeless by the Bolshevik revolution. They get into all sorts of melodramatic scrapes until they__APOS__re rounded up by kindly, altruistic Soviet functionaries. The children are reformed (in the nicest possible way) and made useful members of society. Road to Life is simplistic in its solutions to society__APOS__s problems, albeit no more so than the usual Hollywood product from the same period.

　　该片形成了一种无产者与资本家阶级对立的现实主义题材，以及神的力量奖善惩恶的寓言混合体。此片有两个主要特点，第一是怀旧情绪。以30年代瑞典为背景，经济大萧条所的情绪来建构影片的基调。第二是政治色彩。几十年来人的愚昧，麻木和逃避为一种强权的产生汇集了能量，这种能量散发的结果就是对人长期拥有的自由平等的权利进行疯狂的扼杀。这部影片在最后引入了宗教对人类的拯救，寓意十足，耐人寻味。

　　The Doll is an adaptation of the novel, The Doll (novel) by Bolesław Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Bolesław Prus a potential candidate for the Nobel Prize in literature. The influence of Émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus__APOS__s contemporaries. The movie, however, may be more compared to Stendhal__APOS__s Le Rouge et le Noir, (The Red and the Black).
　　The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful.
　　This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz.
　　Plot:
　　As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer__APOS__s, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel__APOS__s haberdashery. Marrying the late owner__APOS__s widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz Łęcki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his __QUOTE__help__QUOTE__ (in secret) to Izabela__APOS__s impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)

　　每个人都有不愿告人的秘密，很明显影片的主人公提塔迪-基洛拉莫也是一样，而且他的秘密还不止一个。这个50岁的男人8年前来到瑞士一个不知名的小镇，住在一间旅馆里面。8年间没有和人说话，没有工作，一直沉默在烟草和寂静中，他仿佛坠入到对某种隐藏物的沉思中而不能自拔。生活在他的面前，但他却无动于衷，到底什么样的秘密使他变成这样？

　　Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick__APOS__s last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy__APOS__s reassuring childish motto __QUOTE__there__APOS__s no place like home__QUOTE__ is ironically updated to the adult circumstantial adage __QUOTE__there__APOS__s no sex like marital sex__QUOTE__. Kubrick__APOS__s take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman__APOS__s been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can__APOS__t. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman__APOS__s Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple__APOS__s venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn__APOS__t dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it__APOS__s the __QUOTE__fairy godmother__QUOTE__ who speaks the last words in the movie.

　　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__APOS__s brightest and best talents of the __APOS__60s and __APOS__70s, but because of censorship this was not manifest until the late __APOS__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__APOS__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__APOS__s 1976 film Ruzove Sny/Rose-Tinted Dreams passed muster with censors and saw a timely release.

　　一个11岁的小男孩，马蒂，来到了一个新的中学。在他们班里，马蒂的父母是唯一一对在一起的家长，其他同学的父母都已离异。马蒂想跟其他同学一样，于是他想方设法的搞怪，破坏他父母的感情，让他们分开。

　　小曼达被强奸后被丢弃在贫民窟的垃圾堆里，强奸犯是当地政客儿子，警察选择包庇罪犯，曼达的父母关心的是自己尊严，但外婆不会接受这种不公。

　　三个男人Nishant，Rajat和Vikrant是三个合租住在一起的好朋友。他们虽然同住一个屋檐下，性格却迥然不同。生活里喜欢着风格不同的异性对象，却都遭遇到了感情问题的困扰。酒吧对歌结识了Neha的Rajat（卡尔凯•提瓦瑞 Kartik Tiwari 饰），热恋期过去后Rajat终于无法忍受Neha的各种自私和无理取闹而大爆发。Nishant是个神经敏感喜欢抱怨的男生，在办公室认识了新晋职员Charu(苏拉•沙玛 Suraj Sharma 饰)后过上了出钱又出力的苦逼生活，不仅受到Charu男友的威胁，还受到Charu的人格羞辱，大受打击。而Vikrant（拉育•巴基尔塔 Raayo Bakhirta 饰）则是为了一个喜欢了三年的性感交际型女友Riya和前男友藕断丝连的关系陷入深深的苦恼中。面对爱情的困惑，三个男人同台究竟会演出怎样一场好戏？

　　孩与枪，那种被逼出来的坚强与尊严，看得心酸。这世上还是有人要为性别，要为土地拥有权，为那不得安生的规矩拼命，太难。于是这题材，如今仍然觉得心悸。内容本身有震慑力，演员也有魅力，但确实可以拍得更好，让那些回顾更有力量，也让叙述可以更清晰明了点。不过导演才起步，期待下次。

　　从伊拉克退伍回家的JACK，因为长期遭受战争的摧残，精神接近崩溃，死亡的幻觉笼罩在他全身，让他透不过气来......

　　1985年高雄的夏天，充满着玉兰花的香味，也洋溢着青春的躁动。尚未开放的台湾校园，教官一人独大。没有民主与自由可言的学校，压制不住王心仁（凤小岳 饰）逆反的心，写藏头诗，策划集体抗议舞会。和他一起无法无天的还有陈忠良（张孝全 饰）和林美宝（桂纶镁 饰）。经常腻在一起的三人，爱情也在悄无声息地滋长。木讷的忠良读不懂美宝的暗示；心仁则积极地追求美宝；而最早交女友的忠良却困惑了。
　　1990年的台北。风起云涌的学潮运动，少不了阿仁的身影，而阿良则做着阿仁最好的观众。和阿仁成为男女朋友的美宝则时不时从家乡来台北，三人依旧亲密无间。一场盛大的学生集会引起了警方的注意，也冲垮了三人的维系。阿良选择跨出了城墙；阿仁抵不住外在诱惑；将这一切看在眼里的美宝，已无法选择无视。踏入社会，多年不联系的他们再次有了交集。曾经的好友恋人，现在各自有了新的身份加诸身上。为爱自讨苦吃的他们最终能否重拾勇气，回到1985年那个如梦如幻的家乡。

　　一个有言语障碍的男孩想在孟买寻找心爱的女孩，但他意识到去往这座城市的唯一方式是加入当地的卡巴迪运动队。

　　Recep and Nurullah decide to go village house, which is inherited from his grandma. Recep finds out the existence of a big project, that will damage the village and the surrounding forests. Villagers will fight against the project with Recep__APOS__s leadership.—yusufpiskin