法國導演賈克．大地第四部電影，也是賈克．大地(Jacques Tati)作品中極受好評同時也最昂貴的作品。片中賈克．大地再度扮演曾以《我的舅舅》、《胡洛先生的假期》而大受歡迎的角色胡洛先生。電影藉由胡洛先生和一個美國觀光客芭芭拉在未來巴黎的相遇以及兩人的巴黎之旅交錯敘述而成，一共分為〈機場〉、〈辦公室〉、〈世貿展覽〉、〈公寓〉、〈皇家公園〉和〈旋轉的車陣〉六個段落。 線條簡單的鋼鐵架構和大量玻璃的使用，反映出未來巴黎處處嶄新的建築，讓城市生活顯得規律、簡潔與冷酷，表達大地對現代化生活的觀察。只有導演飾演的胡洛先生，代表的是他所懷念與喜愛的舊巴黎生活，強烈的對比，和有點突兀、不知所措的喜感。也代表了大地對於新科技所帶來的新生活和人類互動的觀點。 《遊戲時間》從64年開拍，直到67年才完成，電影中最有名的即是片中出現許多未來城的場景，都是導演賈克．大地堅持搭景出來的，耗時費力，甚至讓他舉債才完成這部電影。電影運用大量的偏灰、藍、黑等冷色系，看起來如同黑白電影，同時也在聲音上做了許多設計，來表達未來生活機械化感。楚浮給予本片極高評價，他說「《遊戲時間》彷彿是從另一個星球來的電影，它讓電影從此不一樣。早在40年前，賈克．大地就已以一個「未來世界」精準地描繪出「全球化」所將面臨的種種問題。近年來學者喜歡以「編舞家」來形容他，身體的移動、移動的目的與慾望、與人對身體的駕馭能力，全是主導他影片敘述的主軸。假如你已看過《遊戲時間》，一定知道這不是一部「看過就算擁有」的影片，而是一部值得一看再看，一部只有觀看時才讓我們自己覺得存在的影片。假如你還沒看過，那你需要事先知道的只是：這是一部幽默詼諧到令人笑出眼淚的影片。
故事發生在一個名叫基爾迪弗洛的小村莊裡，隨著科技的飛速發展，人們的生活越來越便利快捷，即使是地處偏遠的小村莊裡也逐漸出現了各式各樣的電子產品。在這樣一種不可逆轉的大趨勢中，克勞德（路易·德·菲耐斯 Louis de Funes 飾）和弗朗西斯（讓·卡米特 Jean Carmet 飾）顯然屬於異類，他們崇尚自然的田園生活，凡事親力親為，過著日出而作日落而息的生活。一群來自奧金斯星球的外星人的降臨打破了克勞德的平靜生活，好客的克勞德熱情的招待了這群天外來客。為了答謝克勞德的好意，他們復活了克勞德死去的妻子，並將她變回了二十歲的模樣。隨著村莊建設開發腳步的臨近，克勞德和弗朗西斯的土地將被徵收，無法捨自然生活的他們決定跟隨外星人，遷往奧金斯星球。
An aged father and his younger, mentally challenged son have been working hard every day to keep the bathhouse running for a motley group of regular customers. When his elder son, who left years ago to seek his fortune in the southern city of Shenzhen, abruptly returns one day, it once again puts under stress the long-broken father-son ties. Presented as a light-hearted comedy, Shower explores the value of family, friendship, and tradition.
Genial, bumbling Monsieur Hulot loves his top-floor apartment in a grimy corner of the city, and cannot fathom why his sister's family has moved to the suburbs. Their house is an ultra-modern nightmare, which Hulot only visits for the sake of stealing away his rambunctious young nephew. Hulot's sister, however, wants to win him over to her new way of life, and conspires to set him up with a wife and job.
Mr. Hulot is the head designer of the Altra Automotive Co. His latest invention is a newfangled camper car loaded with outrageous extra features. Along with the company's manager and publicity model, Hulot sets out from Paris with the intention of debuting the car at the annual auto show in Amsterdam. The going isn't easy, however, and the group encounters an increasingly bizarre series of hurdles and setbacks en route.
《隱藏攝影機》導演麥可漢內克首度長片，冰川三部曲之首部曲，榮獲瑞士「盧卡諾」影展特別獎與比利時「法蘭德斯國際影展」最佳電影音樂獎。《鋼琴教師》迪特伯納與烏杜山梅爾一同演出，改編自真實事件，冷血控訴病態社會。
安娜和喬治夫婦住在奧地利，育有一女。但安娜遭逢母親去世，弟弟亞歷山大又得了憂鬱症，讓她格外心力交瘁…。加上喬治的新工作並不順利，他們開始對這樣無趣的生活，感到疲憊又厭倦，於是決定要舉家遷居到澳洲，展開新的生活。
他們擬定了非常周詳的移民計畫：表面上，喬治和安娜很順利地賣屋、賣車，也到銀行提出了存款，準備好所有移民手續…；但在這看似風平浪靜的祥和氣氛中，真正暗潮洶湧的驚天風暴，才正要襲來…。
麥可漢內克改編自奧地利的社會真實事件，描述從1987到1989年當世界局勢也正發生劇烈改變的時期，一個看似平凡而美滿的家庭最終走上毀滅的過程。鏡頭節制且精準地剖析現代生活，生命的意義似乎受困於書櫃、黑膠唱片、衣物、電視、沙發等各式現代化用品；當魚缸應聲破裂，水湧流而出，那充滿碎片之廢棄物的家庭空間，宛若缺氧的魚掙扎擱淺的第七大陸。
The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.
童真如何面對成長的苦澀與世界的現實
農村生活雖窮苦卻快樂，父親為了更好的生活，遠赴大城市工作，小男孩不忍母親傷心，決定踏上尋父的冒險旅程。沿途光怪陸離的人、事、物與都會風貌，被壓榨的勞工、貪婪的財團、紙醉金迷、土地剝削、獨裁鎮壓⋯對比一幕幕美麗變幻如萬花筒的畫面，以及輕快的排笛與熱情的森巴，現實世界的風景既誘人又悲傷。
What happens when we meet in the street? Suddenly, mistakenly, intimately. Estranged, rushed, too much, too little, too late. Smiles, small talk, and promises.
In order to wait for her lover Fan Chun-tak to finish his study in Australia, Tang Sau-man works as a governess in Chui Shek-wah's house. Chui is Fan's brother-in-law. Chui spoils his wife Fan Kam-ping. She becomes lazy and dependent on Tang. Fan finishes his study and returns. He decides to transform his elder sister. He asks her best friend, Pang Shui-ha, to persuade her. Pang has a crush on Fan. Pang uses this opportunity to get intimate with Fan. Tang originally thinks that after Fan comes back, she no longer has to live in somebody's shelter. But Fan spends all his time with Pang. Tang is unhappy and drinks to vent her unhappiness. Tang gets drunk and Chui takes care of her. However, Ping thinks that they have dubious relationship and throws Tang out. Tang falls down a slope and loses one leg. Fan is angry with himself and decides to marry Tang. Ping also realises that she is wrong. She decides to change her lazy character and takes care of the disabled Tang.
Bilike has never seen a ping-pong ball before. He and his family live without electricity and running water in a solitary tent home among the vast steppe grasslands. The magnificent landscape here has changed little since the days of Genghis Kahn. But life in the middle of nowhere can be exciting for a young boy. The smallest of details become big events for curious Bilike and his best friends Erguotou and Dawa. The mystery of the small white ball floating in the creek leads to questions about the world around them, as well as innocent mischief.
A photographer awaits competition results while he wanders around Hong Kong across space and time, pondering his own relationship with love and death.
Rush (Ìwàǹwara)" is a cautionary tale about the risks of divining head-first into online relationships and the misconceptions about love and material wealth. It also underscores the themes of redemption, the resilience of the human spirit, and the power of genuine love
Mr. Park raises his children by repairing charcoal pits. Although ignorant and stubborn, Mr. Park has a good heart. He is displeased, however, with his eldest daughter, Yong-sun (Jo Mi-ryeong), because of her close relationship with Jae-cheon (Hwang hae), who is a scamp in his eyes. He is also unsatisfied with his second daughter, Myeong-sun (Eom Aeng-ran), for liking Ju-sik (Bang Su-il). Only his eldest son, Yong-beom (Kim Jin-gyu), is the apple of his eye, as he approves of his son's wife, Jeom-rye (Kim Hye-jeong). When Yong-beom is sent to a foreign branch office, Mr. Park is against it at first but approves of it, as he knows what it means for his son's future. Eventually, too, he begins to approve of his two daughters' relationships.
A medical doctor, Ko, has three daughters. The first daughter, Suk-hee, confesses her past when her husband asks her to forgive his past, on the first night of their honeymoon. When he breaks off the marriage and goes to America, Suk-hee confines herself to her home for three years.
In the town of Xoco, the spirit of an old villager awakens in search of its lost home. Along its journey, the ghost discovers that the town still celebrates its most important festivities, but also learns that the construction of a new commercial complex called Mítikah will threaten the existence of both the traditions and the town itself.
In a world embracing change, Ajeng distances herself from her Javanese roots. She explores the consequences as she grapples with the clash between tradition and modernity. "Wicanten" is a poignant reflection on the evolving dynamics of language and its profound impact on personal and cultural connections.
A blend of drama and documentary, this film follows several people caught up in the turmoil of the modern world. The drama centres on a woman who has burned out and who holds up her own despair – and her attempts to rebuild her life – as a mirror to the rest of us. With a blend of gravity and humour, Sylvie Groulx's film shows the absurdity of a society dedicated to the cult of speed at all costs.
Hak-ming heads the Ko Family, but he and his brothers, Hak-ting and Hak-on, and the second wife of the late Master Ko quarrel. Young Cousin Mui, who has tuberculosis, is forced by to marry an older woman. Kok-sun is guilty of being unable to stop the marriage. Sun and maid Chui-wan are wary of their feelings for each other due to class difference. Cousin Mui dies of illness. Hak-ting has his eyes on Wan. His wife, Wong, complains to their daughter, Shuk-ching, who cannot take it and commits suicide. Wong blames herself for her death. Undergone these tragedies, Cousin Kam's mother let Kam have a modern wedding with Kok-man. When Ming is ill, Ting and On want to sell the ancestral home. Hak-ming dies of angst. When the fifth uncle of Sun forces Wan to be his concubine, Wan tries to kill herself but is intercepted by Sun. Pressurised by people of the house over the issue of inheritance, Sun protests by declaring his love for Wan and leaves the family, with his mother, brother Man and Wan.
A visual celebration of Manhattan and its waterways on the 300th anniversary of purchase from the local Native Americans.