Based on one of the most important and popular works of Portuguese literature, Doomed Love was recently revealed to North American audiences as one of de Oliveira’s greatest works. Closely following Camilo Castelo Branco’s eponymous novel from 1862, de Oliveira creates a radical and unprecedented fusion of theatre, literature and cinema, which, according to Jonathan Rosenbaum, is rivaled only by von Stroheim’s Greed. In this doleful tale of forbidden passion, the doomed love of the title belongs to Teresa Albuquerque and Simão Botelho, whose feuding aristocratic families pave the way for a deadly ménage- à-trois when another woman steps in to take Teresa’s place. De Oliveira credits Straub-Huillet’s Chronicle of Anna Magdalena Bach as one of the major influences on the film, which is told through a bold series of tableaux vivants. Like the other works in his “Tetralogy,” Doomed Love makes great use of omniscient narration and a host of distancing effects (static camera, lack of close-ups), “paring things down to the unspectacular, so that when something dramatic does flare up . . . the result is tremendous” (Elliott Stein). The film was originally shot on 16mm and made for Portuguese TV where it unsurprisingly floundered and was subjected to scorn. But its mythic status grew and when a 35mm blow-up was theatrically released some time later, this film maudit was hailed as a European masterpiece, ensuring that de Oliveira was “recognized as one of the great modern filmmakers” (Randal Johnson). No cinephile can afford to miss this date with Doomed Love. (Cinematheque Ontario)

Filming Othello is a 1978 documentary film directed by and starring Orson Welles about the making of his award-winning 1952 production Othello. The film, which was produced for West German television, was the last completed feature film directed by Welles.

Dalla nube alla resistenza》（《从云端到反抗》）（1978 年）改编自切萨雷-帕维斯的两部作品，也属于 "历史课 "和 "太早太晚 "的范畴。它也有两个部分--一个是二十世纪的文本，另一个是关于古代神话的文本，每个部分都有相应的场景。帕维斯的《月亮与篝火》回顾了意大利反法西斯抵抗战士的暴力死亡；《与莱乌斯的对话》是一系列英雄与神灵之间的对话，将神话与历史联系在一起，回到了创造区别的模糊阶段，如动物与人类之间的区别，这是语法和语言本身的基础。这种将政治参与与诸如神话、自然和意义等深邃的思考问题并置的做法，指向荷尔德林电影中的恩培多克勒和安提戈涅的角色。达尼埃尔-惠勒和让-玛丽-斯特劳布的德国电影》，作者 Barton Byg)

The editing strategies parallel the personal relationships depicted, and a mismatched cut is literally only the other side of a mismatched couple. Rarely have sound, image and the spatio-temporal coordinates of narrative illusion been buffeted about so vigorously.

在这部记录片中，导演调查了他在影片一开始所吃的食物（金枪鱼和香蕉）的来源。当他在调查金枪鱼上面的法国标签时，他发现鱼其实是在塞内加尔捕获的，而他的香蕉则来自厄瓜多尔。捕获金枪鱼和种植香蕉的人们都接受采访，明显地强调了他们经济拮据的状况。

Conceivably the best of all of Breer’s films to date – has more to do with figuration, according to Breer’s formulation regarding titles with letters or numbers. This becomes clear right away as the title letters are intercut with a flurry of fish swimming past the frame lines, which are made all the more literal through the associative chain established by a snippet of Schubert’s Trout Quintet heard on the soundtrack, along with footsteps – which continue over a profusion of other shapes, colors, and objects, including the title letters again. -- Jonathan Rosenbaum

An experimental drama that spins the tale of a woman, her sister, and the man who completes the triangle. Told through such fertile sources as grand opera, classical painting, and Victorian melodrama.

三个青春无敌美少女，不惜一切勇闯荷里活，一心成为明日之星。然而除了付出努力，她们还牵涉毒品、酒精、性 爱、甚至同性恋。难得遇上伯乐，她们的经理人为她们谱上一段不一样的人生。正当她们沉溺于纸醉金迷的酒池欲林之际……

这部无厘头式的搞笑电影由史蒂文·斯皮尔伯格执导，并一举获得了奥斯卡三项提名。故事发生在日本偷袭珍珠港后几天的洛杉矶，日本侵犯所带来的恐惧将洛杉矶变成了有如地狱之城。“1941”在好莱坞创造了许多奇异的角色，如热情的军人、极度感伤爱哭的女孩及争吵不休的纳粹，加上怪异莫名的骚动--一个逃离渡口的舵轮、一栋两层楼的废墟。

这是一部非常风格化的作品，主角是一名年轻的威尔士骑士，他来到一处神秘的古堡，在那里他见到了圣杯的幻像，但他自己却没有意识到；次日清晨，古堡人去楼空，骑士继续出行，当他猛然醒悟到自己看到了圣杯再回去时，古堡已经消失，于是他只能继续他的圣杯寻访之旅。影片完全在摄影棚内拍摄，布景故意做得很“假”，而且台词和动作多有重复，颇有一点曲艺的效果。

在他经典的 1979 年演唱会纪录片中，理查德·普莱尔广泛探讨了包括种族、警察在内的诸多话题，当然也少不了谈论他最爱的主题- 他自己。

一张到柏林的单程机票，两位个性迥异的女人，展开一趟诡异而漫无目的喝酒之旅。她试图忘却过去，活在世上只为了单一而专注的目的——那便是狂饮，她生而饮酒，为着饮酒而生，陶醉在自己的世界里，虚无度日。此为导演乌尔里克奥廷格「柏林三部曲」的首部曲，透过不羁的女性角色，勾勒出奔放、缤纷、自由的柏林。颠覆传统的女性银幕形象，丰沛的影像语言，时尚前卫的美术设计，令人联想到法斯宾达玩世不恭又精巧的媚俗形式、费里尼的嘉年华式荒诞无度，以及华纳・雪洛特式晦涩难解的自传体。

萧条的城市里，帮派分子随处可见，担任黑手党会计的杰克因为私吞黑手党财产并向警方告密，而遭到黑手党监视，他一家人被困在公寓中随时会遭遇不测。杰克和妻子将小儿子菲尔托付给单身女邻居葛洛莉（吉娜·罗兰兹 Gena Rowlands 饰），然而他们自己却没能躲过黑手党……欲追回钱款的黑手党继续追索菲尔，但此时，身份并不简单的葛洛莉挺身而出，决定保护这个陌生的男孩。二人在黑手党的包围中侥幸逃走，声称厌恶孩子的葛洛莉与英语不甚流利的混血男孩在步步惊心的旅途中营造了互信与默契，但葛洛莉清楚，真正的把菲尔从黑手党手中解救出来需要她做出一个惊险的决定……

Dick and Mandy, a young working class couple, move into a council house in Canterbury, and find Mr. Butcher, one of their former teachers, living next door. Mandy's unmarried sister, Gloria, is constantly dropping in, and will not take any hints that the couple would prefer to be left alone, until her presence finally goads them to action.

Klein goes on the hunt for Little Richard, the legendary ‘Architect of Rock and Roll’, who quit show business in 1957 at the height of his fame to become an evangelist. Richard was then lured back to secular music in the 1960s and 70s, but the excesses of stardom led him to a second retreat from the stage. For years he struggled to reconcile his religious calling with his flamboyant rock-and-roll persona, and at the time of filming, Klein finds Little Richard selling ‘Black Heritage Bibles’ for a Nashville couple. Sensing that his image is being exploited, Richard quits his sales position and deserts the film. But Klein turns this into an opportunity to reconstruct Richard’s personality through the words of his family and friends in his native Macon, Georgia, and to celebrate his status as a cultural icon by filming scores of Little Richard impersonators and adoring fans in Hollywood.

梅尔文·达默是个汽车加油站的工人，他心地善良，乐于助人，但却是个彻头彻尾的失败者：背运，不切实际，还丢了工作，老婆也和他离了婚。一天晚上，梅尔文在公路上看到一个步履蹒跚、行动不便的老人，原来老人的摩托车出了故障，梅尔文便好心让他搭乘自己的汽车。老人声称自己是霍华德·休斯，梅尔文听说过这个性格古怪的大富翁，但他对此并不相信，只是一笑置之。梅尔文将老人送到了拉斯维加斯，还将自己身上两角五分钱借给了他。梅尔文没有想到的是，霍华德·休斯立下了遗嘱，将一亿五千六百万美元的财产留给了他。老婆也重新回到了他身边。

In this thriller, a UNESCO translator stumbles across a group which is hiding and supporting Nazis and facilitating their travel around the world. She had been given an assignment to study the work of a writer who recently had died, and the conspiracy is revealed in materials he left behind. She comes upon a young man who is going through the writer's papers, and she immediately assumes he must be one of the conspirators. However, he soon convinces her of his innocence in that regard, and the two together begin a search for the ringleader.

Vidor and Wyeth discuss the influence of The Big Parade on Wyeth and the use of metaphors in art

In Jerry Lewis's first film in a decade, he plays Bo Hooper, an unemployed circus clown who can't seem to hold down a job. The film opens with a brief montage of clips from past Lewis movies. He then moves into a succession of jobs that he gets himself fired from including a gas station attendant and a mailman - all with disastrous results.