备注：已完结
类型：剧情片
主演：罗密·施耐德 霍斯特·布赫霍尔茨 玛拉·莱恩 Boy Gobert O
导演：赫尔穆特·科伊特纳
语言：德语
年代：未知
简介：这是一个浪漫有趣但有着悲剧式结局的故事。一位匈亚利画家在巴黎与一女孩相遇并坠入爱河，突然发现画家的卧室有一条女内裤。画家虽然纯洁无辜，但他对这条内裤的解释却滑稽而令人不能相信。所以当画家说出事实时，女孩非常生气，尽管她决心忘记画家的“外遇”。接下来的事就更严重了，女孩是个穷孩子，她唯恐说出真相后画家会对她不感兴趣，所以编造说自己是个富家女儿，有一个私人司机。她还带上画家到教堂参加家族葬礼，与自己亲戚见面并告诫亲戚们不要多说话。最后谎言暴露，女孩冲出去，被一辆车撞倒，在医院里他们又言归于好，可惜的是女孩几天后将要死亡…
备注：已完结
类型：剧情片
主演：罗密·施耐德 霍斯特·布赫霍尔茨 玛拉·莱恩 Boy Gobert O
导演：赫尔穆特·科伊特纳
语言：德语
年代：未知
简介：这是一个浪漫有趣但有着悲剧式结局的故事。一位匈亚利画家在巴黎与一女孩相遇并坠入爱河，突然发现画家的卧室有一条女内裤。画家虽然纯洁无辜，但他对这条内裤的解释却滑稽而令人不能相信。所以当画家说出事实时，女孩非常生气，尽管她决心忘记画家的“外遇”。接下来的事就更严重了，女孩是个穷孩子，她唯恐说出真相后画家会对她不感兴趣，所以编造说自己是个富家女儿，有一个私人司机。她还带上画家到教堂参加家族葬礼，与自己亲戚见面并告诫亲戚们不要多说话。最后谎言暴露，女孩冲出去，被一辆车撞倒，在医院里他们又言归于好，可惜的是女孩几天后将要死亡…
备注：已完结
类型：喜剧片
主演：Oscar Dietz Boris Aljinovic Hector
导演：Ask Hasselbalch
语言：丹麦语 / 英语
年代：未知
简介：蚂蚁男孩佩尔比以往任何时候都受人关注，他打败了仇敌“跳蚤”，现在跳蚤被关进了一家研究所的监狱里。佩尔转眼13岁了，他也已经习惯了超级英雄的身份。在理想状态中，佩尔的搭档艾达会是他的女友，但现实的情况是复杂的，艾达现在有一个意想不到的对手那就是学校里一个小男孩，这个小男孩独来独往，他不仅不断阻止艾达接近佩尔，而且还是一位比跳蚤还要厉害的对手。更可怕的是，佩尔逐渐发现自己被控制，但是现在他遇到了一个新的也更强大的敌人，敌人有隐身的技能，难以琢磨，经常使他陷入困境之中，此时，一个超级大反派也宣布到来，佩尔面临着前所未有的挑战。
备注：已完结
类型：剧情片
主演：Bob Dylan Joan Baez Judy Collins
语言：英语
年代：未知
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.
