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A Parisian museum director believes his wife has lost interest in him and so places a poisoned cigarette in the box on his desk - thus allowing chance to decide the moment of his death. Based on Shakespeare's play: As Venice welcomes their victorious general, Othello the Moor, back to the city, some of them are waiting for Othello to choose his new lieutenant, while others are busy courting the popular Desdemona, the daughter of a Senator. Othello chooses the loyal Cassio as his lieutenant, arousing bitter jealousy in Iago, another soldier, who vows to scheme against his general. That same night, Othello elopes with Desdemona. Othello is soon sent to Cyprus to repel a Turkish invasion, and he arranges for Iago and his wife to bring Desdemona with them to Cyprus. When Iago's wife learns of a treasured handkerchief that Othello gave to Desdemona, this provides Iago with an idea that he hopes will destroy Othello by provoking him to jealousy. 剧情 Roberto是一个(gè )年轻(qī(👪)ng )的美国(🐐)籍古(gǔ )巴人(rén )，七(🏗)岁时被(💂)(bèi )父亲(qīn )非法偷渡带到(🏁)美(měi )国，事隔多年他(tā )第(🍛)一次回到(dào )自己(🕌)(jǐ )的祖(🎮)国，此行主(zhǔ )要目(🌑)的是找(🚞)寻他(tā )的母亲，并(💃)与她(tā(😩) )当面对(🔍)质，因为(wé(🤣)i )他一(yī(🏓) )直认为(🕌)是母(mǔ )亲(😽)将(jiāng )他(🦎)抛弃。然(🦅)而这(zhè )次(⏳)旅行也(😂)变成了(🔐)(le )一个不寻(🌙)常的心(📵)(xīn )灵之旅，让(ràng )他(🖨)找(zhǎo )回(🎉)了真正的自己(jǐ )…… Roberto是(😸)一个年(🏠)轻(qīng )的美国籍古(⛳)巴人(ré(🔖)n )，七(qī )岁时被父亲(qīn )非法(🥞)(fǎ )偷渡带到美(měi )国，事隔(🚕)多年他第一(yī )次(😩)回到自(📒)己的祖(zǔ )国，此行(🚟)主(zhǔ )要(💟)目(mù )的是找寻他(🕴)的母(mǔ(⛓) )亲，并与(🎊)她当面(mià(🐓)n )对质，因(🎄)为他一(🍽)(yī )直认为(📊)是母亲(🐦)将(jiāng )他(🔨)抛(pāo )弃。然(♉)而这(zhè(🔆) )次旅(lǚ(💤) )行也变成(🍘)了一个(💱)(gè )不寻常的心灵(🌎)之(zhī )旅(🈲)，让他找回了(le )真正的自己(🤑)(jǐ )……(🥃) For his third film in France, L'Enfant du Carnaval (1921), Mozhukhin directed himself. This is a delightful work, hinting at the astonishing visual vocabulary Mozhukhin would employ in his next directorial effort, Le brasier ardent (1923). Full of visual witticisms that include amusing match cuts and a terrific use of scenography, it can be argued that the choice of subject matter (wealthy bachelor finds a child on his doorstep and hires the child's real mother as nanny) has more than an old-fashioned air about it, but he manages to keep it fresh and sparkling until the tragic conclusion. There are some stylistic similarities between L'Enfant du Carnaval and an Italian film from 1917 which screened at last year's Festival, Luigi Serventi's Le Mogli e le arance (Wives and Oranges), written and supervised by Lucio D'Ambra, although this may be pure coincidence. Morhange上校跟Saint-Avit中校误入(💥)(rù )撒哈(⏱)拉中部名为(wéi )亚特兰蒂(😩)斯的山(shān )谷，那在很久以(😞)(yǐ )前曾(céng )是大西洋中(zhō(🕒)ng )的孤(gū )岛之国，后(🏃)海水(shuǐ(🧑) )褪尽，成了高山(shā(😾)n )阻隔的(📇)世外(wà(💹)i )桃源(yuán )。该(🔋)地区的(🏛)统治(zhì(🚭) )者是一名(🛰)叫做Antiné(🐰)a的妖娆(🐮)女王，数(shù(🍾) )年来相(🌋)继有不(🐽)少(shǎo )正当(🛫)(dāng )壮年(🐞)的法国(guó )军人(ré(⏮)n )（阿尔(🏊)及利亚的(de )殖民军官）误(⛅)入(rù )此地，然后为女(nǚ )王(🔧)的美貌(🍄)痴(chī )迷最(zuì )后疯狂而死(📽)，并(bìng )被做成镀金木乃(nǎ(⭕)i )伊陈列。Morhange是虔诚(chéng )的基(jī(🕴) )督徒，不为(wéi )异教(⚽)(jiāo )的Antiné(🚃)a的诱惑(huò )所动(dò(🚍)ng )，俗话说(🐑)，越是(shì(😣) )得不到的(🚋)越令人(🐲)(rén )着迷(🚒)，往常(cháng )都(😟)是(shì )男(👶)人哭着(🚋)喊着要(yà(🦆)o )亲近的(🏅)女王第(🗳)一(yī )次为(🤞)Morhange动了真(🔘)情。然而，妒火却在(🌊)(zài )另一(🎷)(yī )个男人的胸(xiōng )中熊(xió(🍆)ng )熊燃烧，爱情、友情、室(🍝)外桃源(🗨)(yuán )、逃离、回归？？到(🤘)底是怎(zěn )样的(de )抉择呢，请(👉)看片(piàn )吧。 After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... Though Delluc's career was short-lived, it burst vigorously(7 films in 4 years)that it forever left its imprint on french cinema history, and they rightly honoured him by giving the annual Prix Delluc to the best French film of the year. He was responsible for the creation of influential cinema journals like Le Journal du Ciné-Club and Cinéa, founding numerous film societies, writing countless articles and coining the term "cineaste". Delluc believed that films should be set in the natural without elaborate posturing, and characters should be portrayed in an intimate way where the past and present, illusion and reality can be correlated, all considered to be avant-garde at its time. He died only a few weeks after the shooting of The Flood at the age of 33. 贫(🐒)苦的小镇上，传教(🕴)士极力(✖)想解(jiě )救痛(tòng )苦(🐜)的灵魂(🚻)，却受(shò(🎫)u )尽镇民讪(💧)笑怒骂(🍂)(mà )。小镇(🕋)青年在损(⛩)(sǔn )友的(🧝)怂恿下(📂)(xià )，逐(zhú )渐(➿)步入犯(🍋)罪边缘(🔟)(yuán )，笃信上(🛬)帝的女(⏬)(nǚ )友也随之陷入(🐄)绝(jué )望(🌟)，传教士及时(shí )阻止(zhǐ )年(🔣)轻人的犯(fàn )行，并缓缓道(🏴)出自己(🛬)(jǐ )的荒唐过去。 　　为了(🏏)凸显明星(xīng )魅力，影片(pià(🚛)n )甚至(zhì )以演员研读剧本(🕰)(běn )、揣摩角色开(😥)场(chǎng )，并(🌖)在背景投射(shè )出(🥘)主角在(🏇)片中的(🐕)(de )剧情(qíng )转(🕢)折。因为(🔈)(wéi )欧洲(🐟)(zhōu )各地民(🏪)情的差(🥟)异(yì )，结(🍲)局便拍了(🏽)三(sān )种(🚳)版本，三(🎥)种结(jié )局(🍎)也反映(🖲)出丹麦(mài )、俄罗(💖)斯、瑞(⏱)典(diǎn )完全不同的民族(zú(🈯) )性。