Un documentaire retraçant toute la filmographie de Claude Lelouch. Pour les 50 ans des Films 13, le cinéaste y dresse un bilan de sa carrière, assumant échecs et succès, et y montre des images inédites...

The WWE comes to town in the new animated film teaming the Flintstones with Bedrock-ready versions of John Cena, Daniel Bryan and more.

《公園長椅》的故事以不同的地方作背景：包括寫字樓、一間自助商店和公園。影片透過八十六位法國知名演員演繹一連串的插曲來描寫凡爾賽區平常的一天。一眾法國明星如眾星拱月般為波達里斯的這部喜劇增添活力。情節佈局輕鬆巧妙，並且極之惹笑，本片以詩般的幽默手法探討各種形式的城市孤寂。
With Park Benches, the director closes a trilogy that began with A Night in Versailles (Best Short Film César 1993) and continued with Only God Sees Me (Best Debut Feature César 1999).
Set in various locations – including an office, a DIY store and a park – the film pictures an ordinary day in Versailles and comprises a series of short episodes featuring 86 famous French actors. This stellar French cast brings Podalydès’ sparkling comedy to vibrant life. Beautifully crafted, endlessly playful and very, very funny, this ensemble film has been lauded by the press for its poetic humor which borders on the absurd and explores themes of urban solitude.

Every day, Ismael (Reda Kateb) is dazzled, fascinated and exhausted by his favourite place: the Gare du Nord in Paris.

一个年轻英俊的神父引起了一个名叫芭妮的年轻寡妇(莉瓦)的注意。芭妮富有魅力而且风趣，是一个共产主义者和不可知论者。一天，芭妮一时兴起进入了莫汉神父所在的教堂，在告解室里激烈的批评莫汉的信仰。但又被他的回答所吸引，芭妮于是跟神父建立了一种双方趋于理解的关系，尽管莫汉尽其所能令芭妮信仰天主教，但是……

Jérôme Varenne, a French financier, lives and works in Shanghai with Chen-Li, his life and business partner. One day, during a short stay in Paris, while paying a call to his mother, he is very displeased to learn from her and his hated brother, that the family house in Ambray is going to be sold. Jerome decides to go to the town where he grew up to see what is going on. Little does he know how eventful his escapade will be. Little does he know that it will change his life from soup to nuts...

上集人马重新召集，在20年后与老影迷新影迷一起继续分享他们的爱情故事。已经不再是赛车手的路易正在和一个年轻女子交往，而当上电影制片的安娜却一心想将20年前的罗曼史拍成电影。于是他们重逢，彼此间却也逐渐撩起往昔的情愫。

Spain, 1973. Dictator Francisco Franco has ruled the country since 1939 with an iron fist; but he is now a very old and sick man. The future of the weakened regime is in danger. Admiral Carrero Blanco is his natural successor. The Basque terrorist gang ETA decides that he must die to prevent the dictatorship from continuing.

One day, Jean-Louis discovers that his heart has stopped. He is not dead, can walk and talk, but his heart is no longer beating. With the help of his wife and a friend, he tries to understand the origin of this mystery.

2003 film by Claude Miller

炎热的夏天，山姆（扬尼克·雷纳 Yannick Renier 饰）开车去见他的母亲，只为询问一个埋藏在心里多年的疑问。沿途他先后遇到搭车的马修（提奥·弗里莱 Théo Frilet 饰）和莉亚（蕾雅·赛杜 Léa Seydoux 饰）姐弟以及陌生男子杰瑞米（皮埃尔·派瑞尔 Pierre Perrier 饰），三男一女一路向南。他们在海滩篝火狂欢，在草地打闹调情，沿途收集短暂开怀。然而山姆计算着别离的时间，因为人生的道路最终只能一个人走完......
作为法国新浪潮的著名导演，塞巴斯蒂安·利夫施兹（Sébastien Lifshitz）拍有经典同志电影《青春梦里人》和获柏林泰迪熊奖的《狂野三人行》。《去南方》是塞巴斯蒂安第一次尝试公路题材，手法上采用了正叙/倒叙的双线叙事，最终推动人物在某一点交汇和做出了结；角色选取上依然走青春路线，讲述了一段少年情狂的故事。

The film follows four families, with different nationalities (French, German, Russian and American) but with the same passion for music, from the 1930s to the 1960s. The various story lines cross each other time and again in different places and times, with their own theme scores that evolve as time passes. The main event in the film is the Second World War, which throws the stories of the four musical families together and mixes their fates. Although all characters are fictional, many of them are loosely based on historical musical icons (Édith Piaf, Josephine Baker, Herbert von Karajan, Glenn Miller, Rudolf Nureyev, etc.) The Boléro dance sequence at the end brings all the threads together.

Prof. Henri Laborit uses the stories of the lives of three people to discuss behaviorist theories of survival, combat, rewards and punishment, and anxiety. René is a technical manager at a textile factory and must face the anxiety caused by corporate downsizing. Janine is a self-educated actress/stylist who learns that the wife of her lover is dying and must decide to let them reunite. Jean is a controversial career-climbing writer/politician at a crossroads in life.

At Christmas time, 19-year-old Simon returns home to visit his dysfunctional family with Louise, a fearless girl he met during his train ride. While Simon struggles to cope with the growing distance between him and his parents, he starts to examine his feelings when Louise develop a liaison of her own with his childhood friend Mathieu.

Julien is a clockmaker with destructive impulses who decides to blackmail Madame X, a rich, attractive woman who traffics in stolen antiques. What he doesn’t know is that she has an even more dangerous secret that leads him to Marie, with whom he had fallen in love a year earlier.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep.
Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ.
But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality.
Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle.
The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked.
The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood.
And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Claire, a 50-year-old divorced teacher, creates a fake Facebook profile of a 24-year-old woman to catfish Alex, the roommate of her former lover, Ludo.

1981 film by Bertrand Blier

阿桑无法再游戏人生了。他本是向贝尔·佩莱格里尼寻仇，却导致自己的家庭支离破碎。山穷水尽之际，他只能另寻办法，即便身陷险境也在所不惜。

season of Lupin