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備注：已完結(jié)
類型：劇情片
主演：莎拉·弗里斯蒂 何杜安·阿迦南 讓-皮埃爾·利奧德 Liv 尼古拉斯·
導演：莎拉·弗里斯蒂
語言：法語
年代：未知
簡介：莉拉和阿毛在巴士站相遇，莉拉害羞內(nèi)向，與生俱來的語言障礙，阿毛活潑外向，總是機機喳喳說個不停，莉拉用功念書，阿毛以非法賽車維生，就像磁鐵的二極無法抗拒，莉拉與阿毛互相吸引。由于天生口吃，莉拉被課堂上被同學嘲笑是智障，同學經(jīng)常模仿她口吃的樣子。老師從報告中識出莉拉的文字天份，建議她加入一個詩社，她將說不出口的話語化成一首又一首的詩篇，當短詩發(fā)表到部落格，立即引起關注，網(wǎng)友紛紛稱贊。她迫不及待想跟阿毛分享這份喜悅，阿毛卻表示要分手，因為阿毛有一個不為人知的秘密……
備注：已完結(jié)
類型：劇情片
主演：神木隆之介 有村架純 倉科加奈 染谷將太 清原果耶 佐佐木藏之介
導演：大友啟史
語言：日語
年代：未知
簡介：《3月的獅子》改編自羽海野千花的同名暢銷漫畫。電影分為前篇和后篇，后篇主要講述了主人公對“未來”的展望：他將與他所愛的人開始全新的生活。在遇到了鄰居家的三姐妹一年后，桐山零的生活已經(jīng)開始變化，他逐漸意識到了從小被封存于內(nèi)心的真實的自我。在將棋之外，桐山零開始接觸一個嶄新而溫暖的世界。在將棋比賽中，他與擁有驚人天賦、強烈熱衷于將棋的專業(yè)選手廝殺，在生活中，他獲得了鄰居姐妹給予的家的溫暖，這樣的溫暖如同陽光一般照耀著他，桐山零堅冰一樣的內(nèi)心逐漸融化。將棋比賽與溫馨家庭，讓他在生活充實的同時也學會了愛。
備注：已完結(jié)
類型：劇情片
主演：BobDylan JoanBaez JudyCollins
導演：MurrayLerner
語言：英語
年代：未知
簡介："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.
