剧情简介
外星人从遥远的星系来到地球，异世利用科技装备，异世镜像为所见到的一个地球男人的模样，却因为不习惯地球的生态环镜，在起步行走时狠狠地摔倒在地，胳膊上的装备也重重地砸在石头上，装备的损坏令他无法再与地球上空的同伴联络，只能在得不到任何补给的地球上游ddd。地球女孩阿娇在路上遇到了这个来到地球的外星人，心地善良的阿娇收留了他……
异世界魔王与召唤少女的奴隶魔术
外星人从遥远的星系来到地球，异世利用科技装备，异世镜像为所见到的一个地球男人的模样，却因为不习惯地球的生态环镜，在起步行走时狠狠地摔倒在地，胳膊上的装备也重重地砸在石头上，装备的损坏令他无法再与地球上空的同伴联络，只能在得不到任何补给的地球上游ddd。地球女孩阿娇在路上遇到了这个来到地球的外星人，心地善良的阿娇收留了他……
白雪
回复 :34岁的杰瑞米在陌生的房间里醒来，身边躺着美丽动人又幽默风趣的瑞士女郎Adna。唔，一段转角遇到爱的偶像剧就此展开？不，对杰瑞米来说，这根本是人生故事的神展开。因为他即将结婚，而他另一半则是交往多年的……男友安东万Jérémie, 34 ans, émerge dans un appartement inconnu aux côtés d’Adna, une ravissante suédoise aussi drôle qu’attachante. Le début dʼun conte de fées ? Rien nʼest moins sûr car Jérémie est sur le point de se marier… avec Antoine.
范怡文
回复 :戛纳参展影片，女性导演Ellen Perry作品——《Will》。讲述一个名叫ZUKIC的利物浦小球迷的故事。电影中现任利物浦主教练肯尼·达格利什，队长史蒂文·杰拉德均有出演。海报上最亮点还是红军世代相传的那句“YOU'LL NEVER WALK ALONE”，海报的背景舞台是2005年5月25日的伊斯坦布尔之夜。影片将于戛纳时间5月16号点映，公映时间尚不明确。
马修连恩
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
