Voice 1 (male "professional announcer" type): This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned "subjective profundity". They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone): Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1: They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole "” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2: "Our life is a journey "” In the winter and the night. "” We seek our passage..."�　　Voice 1: The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2: There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl): No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1: The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2: One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1: When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment "ordinary life"� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant: nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2: The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3: The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1: In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2: Years, like a single instant prolonged to this point, come to an end.　　Voice 1: What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2: The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept?　　Voice 3: What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2: Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1: Really hard to drink more.　　Voice 2: Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation "” poor and false like this botched traveling shot.　　Voice 3: There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments? The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2: In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point?　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

《剧场版进击的巨人前编红莲的弓矢》是由荒木哲郎执导，梶裕贵、石川由依主演的一部影片。

　　继《何所冬暖何所夏凉》《我站在桥上看风景》之后，@顾西爵 的又一部作品被搬上荧屏啦！这部由领誉传媒、光线传媒联合出品，@熊梓淇 @蔡文静 领衔主演的都市情感剧《对的时间对的人》今日在杭州低调开机了，主要讲述的是#熊梓淇#饰演的帅气俊朗的江安澜与#蔡文静#饰演的气质校花的姚远，从游戏追逐到现实的缘分纠葛。

　　主演为艾赫尼奥·德伯兹，他在片中饰演Maximo，是一个被女主人赶出家门的堕落舞男，被迫和他较疏远的妹妹以及妹妹正处在青春期的儿子住在一起。

　　史密斯一家来到瑞典偏远的斯瓦尔塔岛度假，却因为不友好的当地人和奇怪的仪式而感到不安，他们试图好好享受岛上与世隔绝的自然美景，固执地想要忽视周遭的怪异。然而，随着节日的临近，这家人意识到有更邪恶的事情正在发生，并且他们还发现一个连环杀手正在这座岛上逍遥法外。

　　电影介绍 1999年的《老大靠边闪》(“Analyze This”)曾在票房榜上创造了奇迹，取得了1亿70万美元的票房佳绩。本片故事延续上一集。老大保罗-维蒂(Paul Vitti，罗伯特-德-尼罗饰，Robert De Niro)在纽约辛辛监狱的刑期就要期满了。但负责监视他的联邦调查局特工却倍感困惑，最近他们看管的这个纽约最臭名昭著的黑帮老大，在他关押的小屋里日复一日、神经般地踱来踱去，当然偶尔也会唱几句影片《西区故事》(“West Side Story”)中的主题曲。　　维蒂是因为他的对头家族又向他发出死亡威胁而精神崩溃？还是想以他这种古怪的举止而早日离开监狱？联邦特工被弄得是一头雾水，维蒂以前的心理医生本-索贝尔(Ben Sobel，比利-克里斯特尔饰，Billy Crystal)也被召来，检查后也不明所以。　　上一次，索贝尔给维蒂治疗时就曾想设法找出他日益焦虑的原因，但是毫无结果。要想找出维蒂脑海里潜伏着的病魔，让他恢复正常，这需要时间。而此时此刻，索贝尔并不想浪费时间，特别是对于维蒂，尤其是现在。　　事实上，索贝尔自己也遇到了麻烦。他的父亲刚去世不久，使他陷入了个人生活和职业生涯的个性转变期。此外，索贝尔知道如果他让那个令人捉摸不透的维蒂再次出现在自己生活中的话，他的妻子劳拉-麦克纳马拉-索贝尔(Laura MacNamara Sobol，莉萨-库德劳饰，Lisa Kudrow)一定会火冒三丈。　　但是，维蒂获得了假释，并且是在索贝尔的担保下，再次成了他的病人--更糟的是成为了他们家的房客，这个心不甘情不愿的心理医生发现他根本没有选择。为了使他的生活恢复以往的平静，索贝尔必须帮助这个黑帮老大恢复心智，找到一份合适的工作，回到正道上来。　　终于，维蒂似乎开始认真对待治疗了。索贝尔也认为自己开始相信维蒂了。但是如果象卢-伦奇(Lou The Wrench)这样的家伙不断出现的话，他还能保持这份毅力吗？

　　影片是一部加拿大西部片。讲述一个美国蒙大拿枪手小子来到加拿大的小镇时，发现这里没有人能理解和欣赏美国西部的硬汉精神....

　　奈吉尔收到最后警告，不伦他在恐怖屋中的演出如何出色或如何骇人，他的恐怖屋都要永远关门，他为挽救恐布屋，于是邀请了一班不速之客来营造气氛，可是他们原来是一群恶魔，把恐怖屋变作自己的游乐场，并大肆破坏。

　　A nurse finds herself in a dark and mysterious world.

　　From award-winning Cannes / Venice / Toronto selected director Brillante Mendoza, "GENSAN PUNCH" is inspired by the true story of a Japanese man with a prosthetic leg who traveled to the Philippines to train and become a professional boxer.

　　外科医生刘东是农民的儿子，刚刚大学毕业。与医院护士王燕互有好感，处在对感情懵懵懂懂中的他们，谁也没有把那层窗户纸捅破，直到新分配的护士李莉突然出现在刘东的面前。出身于高干家庭的李莉纯真、漂亮，很快就吸引了刘东的注意。随着日常的工作接触，尽管李莉对刘东毫无感觉，但刘东却已经暗暗地爱上了她。　　相貌英俊，性格豪爽的军分区参谋马刚来医院就诊，与李莉邂逅，两人一见钟情，相同的家庭背景让两个年轻人越走越近，很快就到了谈婚论嫁的地步。婚前旅行让两人收获了满怀的好心情，旅行照片中的甜蜜正在向他们招手。那是个充满朝气的真诚年代，马刚与李莉关于幸福的理解，就如同军营的绿色，医院的白色那般单纯。爱情与婚姻接踵而至，两个人紧张着，憧憬着，他们希望能永远在一起。而就在此时，意外发生了：李莉遭到了歹徒的强奸！纯洁的新娘之梦破灭了，残酷的真相让马刚濒临崩溃，李莉的心碎了，她觉得自己已经不再纯洁，再也配不上心爱的人，她选择调离部队医院，默默调回了老家一所条件很差的医院。　　伊人渐远，两个爱他的男人开始了对李莉的寻找：内心纠结的马刚依然深爱着李莉，他开始疯狂地寻找她，疯狂地寻找罪犯；而一直暗恋李莉的刘东并不不知道在李莉身上发生了什么，他甚至认为是马刚甩了李莉，于是也开始了对她的寻找。此时，远在老家医院的李莉发现自己怀了孕，她心里很清楚：那是马刚的孩子。　　马刚终于找到了李莉，而李莉希望马刚找到属于他的完美爱人，而再次选择了离开，这次她做的很决绝：她放弃了军职。但刘东又很快找到了李莉，两人进行了一次坦诚的谈话，刘东不忍抛下怀有身孕的李莉，坚持要关心她，照顾她，所有的苦难，两个人共同承担。李莉被刘东的真诚打动，但却依然无法放下心中那个最爱的男人。　　归来的马刚大受刺激，心中留下挥之不去的阴影，悔恨、强烈的复仇感、和对李莉的爱交织在一起，很快病倒，得到了护士王燕无微不至的照料，本就暗恋马刚的王燕最终表白，马刚对王燕的爱心存感激，但此时的他已经不能再去接受任何人的感情。　　孩子降生，家人朋友每一句夸赞孩子的话都会让刘东尴尬不已，内心承受着莫大痛苦，刘东不计回报地深爱着李莉，而对于这份真挚的无性之爱，李莉亦是内心酸楚，对刘东充满了歉疚。　　转业的大潮席卷全国，马刚脱下军装做起了生意，他的内心依然牵挂着李莉。二人尘缘未了，在生意中的往来中，马刚惊讶的发现合作者竟然是自己最爱的女人，愧疚和悔恨让他不敢直面李莉的眼神，马刚开始了对李莉生意上的默默帮助。　　李莉终于知道了那个在背后帮助自己的人，而此时马刚突然出了意外，生命垂危，李莉变卖了所有公司财产去挽救他的生命，马刚凭借顽强的毅力转危为安，两个不再是青春年少的人终又相遇，泪水与笑容交融的如此浓烈……祸不单行，从事医药生意的王燕又因药品事故被捕，马刚念及王燕对自己的感情，施以援手，李莉亦出手相助。　　两件突发的事情让这四人再此面对。刘东的内心被深深震动，他知道，李莉与他在一起并不快乐，而他的坚持正让李莉承受着痛苦！他终于明白：若要让一个人幸福，或许只要于心间祝福，而并不需要在身边厮守，无论她在哪里，与谁在一起，只要她依然面带笑容，那她一定就在幸福之中。　　十余年的磨难过后，马刚终于与李莉走到了一起；而已于心中释然的刘东与王燕，迈着相同的步伐走在惬意温暖的艳阳天里，两人相视一笑，似乎又忆起了当年那份青涩纯美的情愫……　　有一种忠诚叫做执着，有一种执着叫做幸福。那些过往岁月中的困顿与磨难，是可以被忽略的，因为幸福总会在不经意间无声到达，像极了春夜的雨滴。