越战时期，美国位于华盛顿特区的石花园，葬着为数众多在越战上殉职的美国军人。《教父》《战栗游戏》詹姆斯肯恩饰演哈塞德军官，深信越战是一场打不赢的战事，相反的，士兵威洛一生最大的职志就是代表国家上战场，好好打一场胜战荣返家园。哈塞德没办法劝阻威洛把自己送到最前线，他唯一能为这个朋友做的，就是──拖延，同时鼓励他好好找回他和瑞秋（《他们的故事》《油炸绿蕃茄》《玫瑰花床》玛丽史都麦特森饰）的感情……

Gangacharan是村里新来的婆罗门（印度僧侣）。在村里，他承担了多种职责。包括教书，组织宗教事务，预防流行病等等。在1943年的印度，时局动荡，战争频仍。乡村上方经常有飞机呼叫盘旋，发出战争的信号。此时，饥荒开始侵袭村民，食物的极度希缺对于已经被战争搅得人心惶惶的村民来说，简直是一次灾难性的生存难关。Gangacharan决定运用他的僧侣身份和特权为村民们争取利益，躲过饥荒。同时，Ganga...

#我是动画人# 《辉夜大小姐想让我告白》宣布新动画制作决定。

入围第71届柏林电影节德国电影视角单元。　　As she enters retirement, a mother leaves behind her solitary life in rural Germany and memories of a once perfect family life and travels to protest-ridden Hong Kong, a place that has kept her son away from her for many years.

铅黄电影。有点实验性的Cult片，《安娜迷宫》的导演又给大家带来感官盛宴。怪奇公寓妇女失踪，墙后房间通往童年，礼盒爬出帽子刺客，壁纸起伏欲望隧道；时空循环自我谋杀，白发初恋听诊凶案，糖果夹杂玻璃碎片，爆头画皮血流满屋……

Les déboires d’une troupe de théâtre dans le Bengale des années 50.

1967年6月5日，以色列出其不意对周边阿拉伯国家发动第三次中东战争，并在六天内赢得胜利。在埃及宣布战争失败后，几名缺水缺粮的埃及士兵想穿越已被以色列占领的西奈沙漠到苏伊士，回到和平地区。　　本片是作品寥寥的以色列导演Rafi Bukai的处女作，他从几名埃及士兵的视角来表现这部“人道主义的，反战的，无关政治的”作品。　　本片在1986年瑞士洛迦洛电影节上获得了一个奖，同年代表以色列角逐奥斯卡最佳外语片。

法国导演情侣组合斯特劳布-于伊耶与1991年将索福克勒斯的希腊悲剧《安提戈涅》搬上银幕，文本上采用了德国浪漫主义诗人荷尔德林的著名翻译，版本上则依照布莱希特40年代的改编，拍摄地点是西西里岛上塞杰斯塔的一座古罗马剧院遗址，拍摄时阳光明媚。影片背后文本的多层厚度赋予了本片以极强的现时性：就在拍摄当年的夏天，美军对伊拉克发起了第一轮进攻。这是一部关于教育公民不服从的作品。

Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

Parajanov's diploma film for the VGIK, based on the Moldavian fairy tale by Emilian Bukov.　　A young shepherd is given a magical instrument from a giant.