“La scène est la mémoire”. Une mère et deux enfants y cohabitent tant bien que mal. Amanda s’imagine encore en grande dame de la bonne société du Sud. Tom, qui se voudrait poète, subvient aux besoins du trio et saisit le moindre prétexte pour filer au cinéma tandis que Laura, d’une timidité maladive, ne quitte pas la crypte familiale et passe des heures à entretenir sa collection d’animaux en verre filé. Un soir, une solution semble se présenter en la personne de Jim O’Connor, “gentil jeune homme ordinaire” qu’Amanda, toujours énergique et optimiste, verrait bien se fiancer à Laura... L’intrigue de La Ménagerie de verre se détache sur le fond sombre et grimaçant des années 30. Elle est simple et insaisissable comme un souvenir raconté par Tom. Le plateau est pour lui le lieu où revivre les jours pendants lesquels il arracha sa liberté – mais à quel prix ?.

Mary Said What She Said is a three-part monologue of 86 paragraphs that makes clear its intent right from the outset: »Memory, open my heart.« Mary, Queen of Scots and, for a while, Queen of France, reviews her life as ‘the one and only Mary in Scotland and the Isles’, a worthy pretender also to the English throne. We learn that this long study in remembrance takes place just as she has been sentenced to death by beheading by her cousin Elizabeth I, Queen of England, and stands accused of conspiring against her. But it is also a play in the course of which Mary composes a drama of her life, a life whose trajectory begins more or less with her birth and ends with a heart-rending letter of farewell written in French to her brother-in-law Henry III, King of France, on the eve of her death. The timeline unfolds as if the memory of it came to her through free associations. The journey takes us from one surprise to the next, marked by the twists and turns of an existence interspersed by all-too-short periods of happiness and unspeakable calamities. A singular wealth of details, simple and charming, mingles with an impla-cable destiny. Is she searching for her true self? Who can say? After all, what she does know and keeps reminding us is that she is queen and, as such, sacred, and that she proclaims her innocence.

The play tells the story of the revenge of a woman betrayed by her husband. All of the action of the play is at Corinth, where Jason has brought Medea after the adventures of the Golden Fleece. He has now left her in order to marry Glauce, the daughter of King Creon. (Glauce is also known in Latin works as Creusa — see Seneca the Younger's Medea and Propertius 2.16.30. This King Creon is not to be confused with King Creon of Thebes.) The play opens with Medea grieving over her loss and with her elderly nurse fearing what she might do to herself or her children.
Creon, also fearing what Medea might do, arrives determined to send Medea into exile. Medea pleads for one day's delay, and Creon begrudgingly acquiesces. In the next scene Jason arrives to confront her and explain himself. He believes he could not pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
Next Medea is visited by Aegeus, King of Athens; he is aggrieved by his lack of children, and does not understand the oracle that was supposed to give him guidance. Medea begs him to protect her, in return for her helping his wife conceive a child. Aegeus does not know what Medea is going to do in Corinth, but promises to give her refuge in any case, provided she can escape to Athens.
Medea then returns to her plotting how she may kill Creon and Glauce. She decides to poison some golden robes (a family heirloom and gift from the sun god), in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more, falsely apologizes to him, and sends the poisoned robes with her children as the gift-bearers.
Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection.
The request is granted and the gifts are accepted. Offstage, while Medea ponders her actions, Glauce is killed by the poisoned dress, and Creon is also killed by the poison while attempting to save her. These events are related by a messenger.

Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too.
Medea is pleased with her revenge thus far, but resolves to carry it further: to utterly destroy Jason's plans for a new family, she will kill her own sons. She rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason rushes to the scene to punish her for the murder of Glauce and learns that his children too have been killed. Medea then appears above the stage in the chariot of the sun god Helios; this was probably accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
Manifold are thy shapings, Providence!
Many a hopeless matter gods arrange.
What we expected never came to pass,
What we did not expect the gods brought to bear;
So have things gone, this whole experience through!

故事發生在三十年代美國一個離群獨處的小家庭，內容圍繞四個角色之間的關係變化。　
母親Amanda在年輕時被丈夫拋棄，獨力供養一對子女。為了令兒女不會重複自己的悲劇，因此對他們的生活嚴加管制。　
女兒Laura的一對「長短腳」令她自卑不已，極少與別人交往，但Amanda卻為了女兒嫁得如意郎君，用盡一切方法將女兒塑造成淑女，可惜當她們知道Laura暗戀對象Jim與別的女孩訂婚，兩母女再次墜入失望的深淵……。　
兒子Tom為了反抗母親的壓力，每天迷醉於自己的幻想世界，最後更抵受不住母親而決定離家而去……。　

客居巴黎多年之后，飘忽不定、天马行空的柳鲍芙为拯救即将抵债出售的樱桃园而回到阔别多年的故乡。著名演员伊莎贝尔·于佩尔饰演的柳鲍芙这一悲剧女性形象，正是《樱桃园》这部摇摆于悲剧与喜剧之间的作品的中心人物。她将重新见到久违的亲人，樱桃园的命运打乱了他们的生活，更进一步说，是柳鲍芙已经远离的那个俄国的未来打乱了他们的生活。那是世纪交替之时，站在时代的十字路口，新世界奔涌而来。声势浩大。

Exilée à Paris depuis de nombreuses années, Lioubov, créature insaisissable et lunaire, revient dans son domaine qui doit être vendu pour dette. Pivot tragique de cette pièce qui oscille entre drame et comédie, cette figure maternelle, cette mater dolorosa, interprétée par Isabelle Huppert, retrouve les siens perturbés par l’avenir de la propriété et, plus largement, du monde qu’elle a laissé derrière elle. La société moderne et ses mutations sociales arrivent à grands pas. À grand bruit.

Can one love one’s son too much? Anne has given everything to the family she’s built. Now the years have gone by, and her children have grown up and have lives and loves of their own, leaving her alone in a world that is crumbling around her.

第二届海南岛国际电影节将于2019年12月1日至2019年12月8日在海南省三亚市举行，为提升电影节的品牌竞争力，第二届海南岛国际电影节在延续第一届电影节活动的同时，将首次增设竞赛单元——“金椰奖”评奖。

法国电影大师弗朗索瓦·欧容的喜剧作品，亦是其“女性三部曲”（《八美图》《花瓶》）的最后一部，改编自法国剧作家乔治·贝尔和路易·韦纳伊的同名戏剧。故事背景置于上世纪三十年代，贫穷演员玛德琳被指控谋杀，在好友帮助下成功翻案并成为名角之后的种种故事。欧容以经典默片戏中戏的表现手法，轻松又略带无厘头地敲响了荒诞时刻：“坏人”因一出谎言成了好人，带来一场属于坚毅姐妹花的胜利。“于姨”伊莎贝尔·于佩尔以世界著名女演员莎拉·伯恩哈特为原型，在本片中饰演一名“天降神兵”般的关键人物。

从小青梅竹马并最终结为夫妻的罗拉（Isabelle Huppert 伊莎贝尔•于佩尔 饰）和戴维（Bernard Giraudeau 贝纳•纪欧多 饰），两人各自周旋在婚姻与情人之间，而彼此又相互明了。
身为建筑师的罗拉与有妇之夫的音乐家汤姆（Hippolyte Girardot 西波里特•吉列多特 饰）时常幽会，汤姆更不顾妻子的哀求与罗拉奔赴庞贝旅行。时常一脸严肃的商人戴维则与单身女人玛瑞安（Lio 饰）育有两个幼子，往返于两个家中，乐此不疲。
然这样危险的爱情与婚姻终有崩溃之日，汤姆的妻子最终找到情人，离他而去；玛瑞安则无法继续忍受单身妈妈的身份，将孩子推给戴维。罗拉和戴维的生活开始糟得无法收拾……

《不止于她》第二季是由腾讯新闻立春工作室、木之文化联合出品的杰出女性纪实访谈节目。节目由屹芝担任主持人，以“寻她者”的身份，走进余秀华、邓亚萍、何超莲、伊莎贝尔·于佩尔 Isabelle Huppert、杨倩、秦海璐六位杰出女性的生活场景，看到光环之内她们的传说，也一探光环之外她们的生活日常

Werner Schroeter war der radikale Experimentierer und große Außenseiter des Neuen Deutschen Films. Bei den Filmfestspielen von Venedig 2008 wurde er mit dem Goldenen Löwen für sein "innovatives, kompromissloses und oft provokantes Werk" geehrt. Elfi Mikesch, Werner Schroeters langjährige Kamerafrau, gewährt einen intimen Einblick in die Arbeiten der letzten 4 Jahre voller Schaffensdrang und Begeisterung für Kino, Theater und Fotografie: Bei den Theaterproben zu ANTIGONE//ELEKTRA, den Vorbereitungen für die Foto-Ausstellung AUTREFOIS & TOUJOURS und den intensiven Synchronarbeiten zu seinem letzten Film DIESE NACHT. Ein berührender Film über Werner Schroeter, der am 12. April 2010 starb.

这是一部记录1993年由美国先锋派戏剧导演罗伯特·威尔森执导、伊莎贝尔·于佩尔主演、改编自弗吉尼亚·伍尔夫同名小说的舞台剧《奥兰多》 (Orlando) 从初期排练到首演之夜的纪录片。

一个在车祸中伤了眼睛的女人和一个年轻的盲人相恋。看风景是看世界的唯一方式吗？

這部影片集結了30位知名的法國電影工作者，包括雷奈、薛侯、香妲‧艾克曼、雷蒙德‧巴東、克萊兒‧丹尼絲、羅伯‧克拉瑪、高達和米耶維勒…在內，每位各自完成一篇電影陳情書，代表一位政治犯向世界揭發人權遭受剝削的真相。現今世界各地有數不清的男女老幼被囚禁，遭到虐待，有些是因為政治因素，有些則僅僅只因為信仰或族裔不同。為了紀念國際人權特赦組織成立30週年，並且希望對囚禁的單位施加壓力，邀請演員和電影導演聯合寄送公開的陳情書給各個國家的官方單位，要求立刻釋放這些囚犯。片中的每位導演都熱烈地為自己所代表的個人發聲，他/她的人生遭到無情、偏狹的政治立場、長期的監禁、刑求甚至殺害所扭曲，他們斑斑血淚的苦難透過鏡頭記錄下來，再真實不過地呈現在我們眼前。其中，高達和米耶維勒關切遭到長期囚禁的印尼西巴布亞（West Papuan）獨立運動人士Thomas Wanggai的艱困處境。新聞攝影與紀錄片大師德巴東以充滿想像力的低限手法，為哥倫比亞的人權工作者發聲；雷奈條理清晰的辯論讓他代表的古巴政治犯具有高度的說服力。演員Anouk Grinberg 以直接面對鏡頭的獨白手法，痛陳緬甸軍政府對民運人權鬥士翁山蘇姬長久以來的迫害。對觀者衝擊最劇烈的恐怕是Martine Franck處理的段落，新聞攝影大師Henri Cartier-Bresson親眼見證茅利塔尼亞屠殺兒童的慘烈歷史。經歷十幾年牢獄之災的中國知名異議人士王希哲，則是Gérard Frot-Coutaz代表拍攝的人物。雖然有共同的訴求，這部影片集錦並未掉入悲情控訴或政令宣導片式的窠臼，每位導演以各異的作者風格與手法，將每位主人翁的「個人主體性」（individual）戲劇化地彰顯，宛如一張張帶著無比尊嚴的臉孔，提醒我們人權工作仍有漫長的道路要走。

影片改编自保罗·加利科同名畅销小说。讲述1950年代的伦敦，一个寡居的清洁女工 疯狂地爱上了一件迪奥的高级定制的裙子，并决定要有一件属于她自己的。在经历了工作、挨饿和赌博筹集资金以追求自己的梦想之后，她开始了前往巴黎的冒险之旅，这不仅将改变她的前景，还会让这座标志性时尚之都的未来焕然一新。

法国情色女王布蕾雅（《蓝胡子》）的半自传，是她04年中风后的亲身经历，好看是伊莎贝雨蓓来演导演的化身，操控慾极强的她，在奋力复元身体和创作力的当儿，看到刚出狱的大骗子上电视，不知哪来的躁动，二话不说抓他来当新片主角。性别和权力的拉扯，演成一段难捨难离的关係，被动原来是主动，女导演一步步跌落自设的圈套里，欣然向骗子一次又一次无条件奉上支票。故事奇情，到了尾声布蕾雅仍有本事豁出去，被骗近百万欧元之后还有这个胸襟，令影片更神秘吸引。

A mature lady approaches a young actor and offers him a great amount of money to get acquainted with her lonely daughter, who suffers of an incurable illness. Eventually a true romance emerges, as mother has secret feelings for the man, while he truly falls in love with the daughter. After the expected death of the daughter, the man leaves in grief rejecting the money, and the mature woman stays in deep loneliness, trying to cope with a double loss.