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英(🚔)俊青(qī(🕤)ng )年麦克尔（Walter Slezak 饰）是画家(🎃)苏莱特(🥤)的专(zhuān )属模特(tè )，以麦(mà(🔰)i )克(💷)尔为(🌞)原型，苏(sū )莱特创作出了(👞)精(🚄)美(mě(🆙)i )的艺术(shù )作品，名声大噪(🐩)，登门(mé(🎮)n )求画的人络(luò )绎不绝(jué(🍥) )，但苏(sū(👾) )莱特为(👨)(wéi )了保存和(hé )麦克尔的(🚈)美(🔴)好回(🏌)忆(yì )拒绝出(chū )卖杰作(zuò(😲) )。年(😻)轻貌(🌚)美的女(nǚ )伯爵拜访苏莱(🎼)特(🎱)，请求(📅)后(hòu )者为自(zì )己画像，麦(⛰)克尔(ě(🛷)r )默默注(🕕)视着女伯爵(jué )，四目(mù )交(🚰)投之(zhī(🐙) )下，情意暗生，苏莱特思量(⚓)之(🏩)后决(📖)(jué )定为女(nǚ )伯爵作(zuò )画(🧕)，但(🆎)创作(🚈)不久(jiǔ )因苏莱特无法描(🏎)画(huà )女(💶)伯爵(jué )的眼睛(jīng )而陷入(😮)停滞，麦(🌗)(mài )克尔(🎈)提笔代(dài )劳，女(nǚ )伯爵美(🈺)(mě(🌄)i )丽的(🥓)神(shén )色跃然画(huà )上……(🚧)麦(🚙)克尔(👲)与女(nǚ )伯爵相(xiàng )爱并逐(🏝)(zhú(🅰) )渐离(🈲)苏莱特而去(qù )，苏莱特承(😜)受着年(🚶)(nián )青人的(de )欺骗和(hé )背叛，将内心(🐡)的(de )悲苦(🌱)呈现在画作上(shàng )，受孤(gū(⚾) )独(🙊)煎熬(😌)(áo )的生命之火渐渐(jiàn )熄(🚽)灭(🥑)……(🍰) Fiction patriotique dans laquelle une jeune femme qui attend son fiancé parti sur le Front devient folle. Louis Feuillade是法国(guó )无声片(piàn )时(🍴)期(♊)最(zuì(🍭) )伟大的导演.有些(xiē )影评(🔦)人甚至(㊙)认为其(🥐)(qí )成就高(gāo )于同时(shí )期(😓)的(😝)格里(🌈)非斯.Tih Minh是(shì )Louis Feuillade成就最高的电(🍻)影(📒)之(zhī(➡) )一,该片(piàn )被美国(guó )影评(🚘)人(🈯) Jones is on his way home, carrying a roll of money, when he meets a neighbor who is a notorious miser. The neighbor unexpectedly invites Jones to dinner, and serves him a large meal with plenty of wine. After dinner, the neighbor suggests a way of passing the time - and soon his real intentions become clear. Written by Snow Leopard 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. Giles Bateson is expelled from college for misconduct. His angry father, the Earl, sends him a message: "Never let me see you again until you have earned a half crown and proven yourself worthy of confidence." Giles meets Sally, the parson's daughter, who believes Giles to be the gardener. On a walk, they meet some gypsies, who show Sally a "magical ring." Giles buys it for her, and Sally comes to believe in its power when her wishes -- such as for a new dress and shoes to wear to the Earl's party for the villagers -- come true, although actually Giles is responsible. At the party, Sally accidentally discovers the note from the Earl and realizes who Giles really is. She determines to reconcile father and son, and begins visiting the Earl each day to play chess and distract him from the pain he suffers from gout. The gypsies tell her that she can find an herbal cure at Devil's Cliff, but when Sally doesn't return home, a search party finds her lying unconscious by the herb. The Earl is... Written by Fiona Kelleghan 讲述(😛)商人(rén )吉姆面临经(jīng )济(🏫)危机(jī(➰) )，幸好(hǎo )去世的祖父留下(xià )巨额(⛵)财产给(🙌)他，但(dàn )条件是(shì )他必须(🌋)(xū(🖖) )在27岁(♏)生日晚上七(qī )点前结婚(👏)，结(🏝)果引(📙)(yǐn )来全城(chéng )妇女的(de )求婚(♒)，当(🚺)然，最(🚲)(zuì )后还是有情人终成(ché(🛏)ng )眷属。