"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.

Barnaby and Maxine Pierce’s son is getting married in California and they decide to drive across the country to attend. Along the way they reflect on their tattered relationship and the events that transpired to create the estrangement.

　　安娜·古托（《摄影爱好者》《汤姆和吸血鬼》）自编自导，讲述莎莉（比诺什）是一名卡车司机，为了从一个致命的监狱团伙手中救出弟弟丹尼斯（格里罗），她被迫走私非法货物。随着FBI特工格里克（弗里曼）的追踪，莎莉的动机和良心受到了挑战，她最终发现包裹里是一名少女（芬利）。

安娜·古托（《摄影爱好者》《汤姆和吸血鬼》）自编自导，讲述莎莉（比诺什）是一名卡车司机，为了从一个致命的监狱团伙手中救出弟弟丹尼斯（格里罗），她被迫走私非法货物。随着FBI特工格里克（弗里曼）的追踪，莎莉的动机和良心受到了挑战，她最终发现包裹里是一名少女（芬利）。

讲述了一位女性在朋友、家人和社会迫使她生孩子后，报名参加了一项临床试验，去试图修复她那看似破碎的生物钟的故事。

　　在他酗酒的父亲去世后，乔纳森·布里奇从他兄弟的家里偷走了他父亲的骨灰。他开着一辆偷来的汽车飞驰向悬崖，想自杀，但他活了下来。在此之后，他要在精神病院接受三个月的治疗。在那里，他在Figure博士的监督下加入了一个自杀小组。他与精神不安的雷切尔·罗（她看到她的母亲死于车祸）和托比（在车祸中意外地杀死了他的兄弟）成为朋友。在治疗过程中，爱挖苦人的乔纳森改变了他的行为，看到了活着的重要性。

“上帝用7天创造世界，我用7秒钟，就毁灭了自己。”　　本·汤姆森（威尔·史密斯饰）向急救中心报告自己自杀的情况。是什么让他选择了自杀来结束自己的生命？　　追溯往日，本作为调查员，负责调查部分公民对国家经费的拖欠与申请问题。表面上刻薄的他其实内心充满温情。但没有人能够触及他的内心，本心中到底牵挂着什么？　　某一天，本开始调查心脏病移植手术等待者艾米莉·波莎（罗萨里奥·道森饰）。在调查过程中，他的心中起了波澜。于是，一个计划在本的心中盘算。本到底隐瞒了什么？　　而这些，又与本的自杀有什么样的关系呢？　　一份重达七磅的救赎，一段不堪回首的记忆，本·汤姆森与观众一同探寻生命的意义

Alex is a shy accountant living in London. He is reluctant to step out of his comfort zone, but when he falls in love with an adorable French artist named Penelope, he pretends to be a talented artist himself; and now he needs to win a Modern Art contest to prove it.

「母亲教我说话，为何我得沉默？」祖母病故，住宅电梯故障失修，抬棺材到街上弄得众人狼狈万分，这就是黑人少女哈比的日常缩影。新当选区长的白人医生邻居，「仗义」收留叙利亚难民，却无视聚居多年黑人族群苦况，狠心推动强迫迁拆令，使哈比不得不在本该普世欢腾的圣诞节走上抗争之路。压迫愈趋无理，居民怒火可会一发不可收拾？赖卓利继戛纳得奖作《孤城泪》，再次深探法国社会阶级和种族冲突根源：不患寡而患不均，不患贫而患不安，信焉。

“上帝用7天创造世界，我用7秒钟，就毁灭了自己。”　　本·汤姆森（威尔·史密斯饰）向急救中心报告自己自杀的情况。是什么让他选择了自杀来结束自己的生命？　　追溯往日，本作为调查员，负责调查部分公民对国家经费的拖欠与申请问题。表面上刻薄的他其实内心充满温情。但没有人能够触及他的内心，本心中到底牵挂着什么？　　某一天，本开始调查心脏病移植手术等待者艾米莉·波莎（罗萨里奥·道森饰）。在调查过程中，他的心中起了波澜。于是，一个计划在本的心中盘算。本到底隐瞒了什么？　　而这些，又与本的自杀有什么样的关系呢？　　一份重达七磅的救赎，一段不堪回首的记忆，本·汤姆森与观众一同探寻生命的意义。