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孔剧人生
语言：泰语
主演： 索拉朋·切特里尼鲁·西里詹亚ApinyaRungpitakamanaGongthoonPongpattanaNantharatChaowaratKhajonpongPornphisutPimolratPisalayabuth彭帕克·西里古尔
简介：《孔剧人生》是一部关于泰国国粹“孔剧”兴衰的一部故事片。孔舞是一种泰国传统舞蹈。他是由戴面具的男士来表演，一旁会有旁述者加以说明故事情节，通常还会伴有类似中国的皮影戏这种艺术形式来表演。女性一般也会参与到其中来表演。这是一部经历团员勾心斗角，最终悲欢离合的精致大片。...
第一演播厅
导演： 里卡尔多·多纳
语言：意大利语
简介：<span style="color: rgb(17, 17, 17); font-family: numFont, PingFangSC-Regular, Tahoma, "Microsoft Yahei", sans-serif; font-size: 13px; white-space: pre-line;">罗马，1961年。Studio 1是关于三个年轻女性的故事，他们梦想着在经济繁荣时期改变他们的未来。通过三个女孩的情感和事业，以及在她们破碎的梦想中，我们看到了20世纪60年代的极限综艺节目的兴起，这是当时最具创新性和最令人难忘的节目。</span><br />...
金瓶少女
导演： 滕华涛
语言：汉语普通话
简介：<p>洞房花烛夜后的第二天早晨，新郎官蒋兴哥把祖传下来的珍珠衫交由新娘子三巧儿保管。蒋兴哥要前往广东收取当年尚未收取的债务。外地商人陈商趁机勾引三巧儿。七月七那天是三巧儿的生日。酒酣耳热之际，陈商钻进了三巧儿的纱帐。事后，虽然三巧儿追悔莫及，但仍忍不住继续和陈商偷情。陈商要动身前往南京。临行前，三巧儿把珍珠衫送给了陈商。陈商到南京后，认识了大病痊愈后的蒋兴哥。蒋兴哥发现自家的传世宝贝居然穿在陈商的身上。蒋兴哥明白了一切。蒋兴哥把一纸休书当做药方让三巧儿送交给了岳丈。后来，三巧儿改嫁中年丧妻的知府。陈商在老家遭妻室平氏辱骂后，跑来找三巧儿，得知三巧儿改嫁，气急而亡。陈商死后，其妻子平氏前来襄阳找夫，落魄到靠典当东西维持生计，得蒋兴哥帮助，因念其长相颇似三巧儿，蒋兴哥续娶了平氏。蒋兴哥帮平氏赎回了所有的典当品，并发现自家的传世宝贝珍珠衫也在其中。蒋兴哥恍悟，自己续娶的妻室原来就是陈商的遗孀。</p><p><br/></p>...
镜子的另一面：纽波特民歌艺术节1963~1965
语言：英语
主演： BobDylanJoanBaezJudyCollins
简介："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s....
