1989 film directed by Jean-Marie Straub and Danièle Huillet

本片基于真实事件改编。William Douglas Street 对他的生活充满了厌倦，为父亲工作只拿到一点点钱，老婆天天吵着要他挣大钱，他受够这一切。他找到一个办法来解脱，就是成为一条“变色龙”，不断的为适应这个恶劣的环境而改变自己，假扮成为医生，记者，律师等种种角色，这样就能挣更多的钱。

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

A cynical American tragedy about toxic waste.

讲述著名犹太知识分子赫尔曼同三名不同的女人（其中也有德国女人）之间的浪漫而又复杂的爱情故事，一个是战争时期保护他的，一个是他以为已经惨死在集中营、但又出现在他生活中的原配，还有一个是他那信仰社会主义并点燃他生活欲望的情妇。美国影评人协会奖最佳女配角奖，美国纽约影评人协会奖最佳导演奖、最佳女配角奖，奥斯卡最佳女配角提名。本片根据诺贝尔文学奖获得者艾萨克·巴辛格的同名小说改编，影片真实再现了二战后的纽约风貌及受过纳粹折磨的犹太人丰富多彩而又特殊的感情生活。三个女主角皆有上佳表演。====正太猫

故事开始于明朝，凤三（元华 饰）心肠歹毒，无恶不作，身为锦衣卫，同时又是凤三的师弟，方守正（元彪 饰）发誓要将凤三绳之于法。然而，凤三此人诡计多端，甚至想要偷取能够扭转时空的黑玉佛，借此逃脱法网，几番争斗之后，两人双双跌落山崖。
时光荏苒，转眼已是现代，考古队在雪地中挖掘出了凤三和方守正被冰封住的尸体，将两人运往美国研究，然而，途中一场意外却令两人死而复生。方守正于机缘巧合之下遇见了名为阿玉（张曼玉 饰）的不良少女，阴差阳错的成为了她的保镖，而凤三不改奸邪本性，加入了黑社会，继续为非作歹。当方守正得知凤三依旧作恶多端后，他决定继续自己未完成的使命。

对图像的阅读是《世界的图像及战争的铭文》的核心。法罗基在这部影片中呈现了他对图像一贯的矛盾情绪，渴求相信图像无可比拟的揭示事实的能力，同时又对它怀有最深的不信任。从Albrecht Meydenbauer通过摄影测量建筑、一群学生在画室进行人体模特素描，到运用仪器绘制建筑图，影片向我们展示了图像在“保存”铭刻于其上的客体与现象时，亦已通过将它们转化为数据的形式最终将其“破坏”。在战争图像中，这种“双重能力”变得更加凸显，制造、阅读图像的技术和杀戮的技术在战争中重合，暴露在镜头中的目标即是将被攻击的对象。我们在这种阅读中重新审视美军“意外”捕捉到的奥兹维辛的航拍照片，或阿尔及利亚妇女被强制在镜头前摘去面纱的“证件照”。关于影像的科技、文化系统开始变得异常复杂、无解。

Haji is severely traumatized by the war with Iraq. Back from the front, he's unable to adapt to civilian life. Despite family opposition, his fiancée stands by him as together they challenge both the authority of family and state to lead their own lives.

Celebrated documentary filmmaker Emile DeAntonio discusses his comtempt for J Edgar Hoover, the Federal Bureau of Investigation (FBI), and American political intolerance in general.

This film is a portrait of the passage of one year in the lives of some San Francisco friends, circa 1988 (before the dot.coming of the city), a slow marijuana hazed story which drifts like the fabled fog, encompassing the quirks and habits of a generation that made the city theirs, if only for a while. Very obliquely Rembrandt Laughing sketches the time and place, encompassing the AIDS epidemic, the casual sexual revolution, the debris of '68 lingering in the air. A quiet, very San Francisco comedy of life among a small group of friends. Rembrandt Laughing was improvised over the period of about a month by Jost and his friends, mostly acting non-professionals.

Using the male-dominated backdrop of baseball, Green explores her conflicted passion for the sport- more specifically, how her sexuality factors into her interest.

The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.

The Confession (1990) survives in Parajanov: The Last Spring (1992) in its original camera negative. It remained unfinished due to the death of Sergei Parajanov. The Confession (1990) was his favorite screenplay, which was written in the 1960s and was his film-memory of the childhood, student years, marriage, imprisonment and more as the fantasist Parajanov perceived it. Parajanov gifted the screenplay to Mikhail Vartanov, made a drawing on the cover and wrote: "The Confession will only be made by a director born in 1924 in Tiflis, Georgia." He predicted that he would not finish it.

先锋派导演运用镜头与机智的语言风格向我们诠释了西德的生活，全片由32个短场景组成，取材于各种培训指导课程。电影中，女人们接受生孩子的培训，警察学习如何逮捕，银行员工学习如何安抚生气的客户等等。本片被评为1991年德国影片人协会奖最佳纪录片。

由纽曼与乔伍德沃德这对银色夫妻档在晚年的再度合作。通过擅长拍摄文艺片的詹姆斯·伊沃里以细腻手法刻画老人家与家族和环境之间的心理互动，成功地塑造了布里奇夫妇的形象，以及表现了他们的丰厚人生经验。
擅拍文艺片的詹姆斯·伊沃里以细腻手法刻画老人家与家族和环境之间的心理互动，戏剧性不强，却相当成功地塑造了布里奇夫妇的形象，以及表现了他们的丰厚人生经验。两人的表演都很精彩，乃影片的一大亮点。

剧情
1974年，在北非的葡萄牙殖民地，独立战争此起彼伏，进行镇压的葡萄牙士兵疲惫不堪，在战斗间隙，他们熟悉历史的少尉对他们讲起了葡萄牙的历史：葡萄牙最初被称为鲁西塔尼亚，从公元前2世纪起，开始被罗马人统治。比利亚托是鲁西塔尼亚地方原始部落的一个首领。在公元前147－139年间多次领导当地人起来反抗罗马人的统治。后来他被罗马将军西庇阿收买的一个叛徒暗杀。从罗马时代，十字军时代，到哥伦布航海时代的故事都在少尉的讲述中呈现出来。最后少尉在与游击队的战斗中负伤死去。他们终于明白，任何一个民族都是不可以被征服的。

One of the longest handheld tracking shots in film history, It’s Real documents an hour in the street life of downtown Manhattan. Not only is it a unique record of a particular time and place—July 26, 1990, from 3:45 to 4:45 p.m. in the Lower East Side near Robert Frank’s studio (we note in a Daily News headline that after some 20 years the Zodiac killer still hasn’t been identified)—it’s also an experiment in fragmentary language, gesture, and life caught unawares. Snippets of dialogue captured in passing at phone booths and crosswalks, in alleyways, subways, and diners—chance encounters, only presumably, with people going about their day—have something of the aleatory cut-up technique of the Dadaists in the 1920s and William Burroughs and Byron Gysin in the 1950s, an effort to divine new and deeper meanings in ordinary life. — Museum of Modern Art

一部1990年上映的美国剧情电影，由彼得·博格丹诺维奇（Peter Bogdanovich）执导。这部电影改编自拉里·麦克穆特瑞（Larry McMurtry）的同名小说，是1971年电影《最后一场电影》（The Last Picture Show）的续集。

约翰·威尔逊是一个有才华但很固执的电影导演，他接受了《非洲商人》的拍摄任务，准备去非洲拍外景。但他真正想做的事情是去非洲猎杀大象，他对影片拍摄的众多问题置之不顾，只一心一意地收集着狩猎的武器，甚至把这笔费用打入影片的预算。青年编剧皮特·维里尔跟他一起去到非洲，刚到达乌干达，威尔逊就开始追逐同一旅馆中的一位女客玛格丽特。玛格丽特心怀恶意，不断在威尔逊面前诽谤维里尔反犹太人。两个男人之间展开了一场“心理较量”，威尔逊逼着维里尔克服“懦夫心理”，一起去狩猎大象，而维里尔苦苦哀求他不要杀害珍贵的野生大象。威尔逊不顾其他猎人的阻止想猎杀公象，他带着黑人猎人基维走了。不久他托人带来口信说在基维的村子找到了更好的外景地，要剧组人员赶去。当一切就绪准备开拍时，威尔逊又消失了，他和基维去猎杀公象，使基维死于非命。这时丛林中的发报机发出了“白猎人，黑心肠”的电文，受到惩戒的威尔逊终于安定下来开拍电影。by:m.yakubd.cc

Un carnet de voyage de sites miniers abandonnés en France vantant leur potentiel récréatif.