《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

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……

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。

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。

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.

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.

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.

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.

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……。　

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!

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.

“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 ?.

　伊莎贝尔·于佩尔将主演新片[日本的西多妮](Sidonie au Japon，暂译)。该片由厄利斯·吉拉德(Élise Girard)执导，吉拉德与莫德·阿美林([阿曼达])共同操刀剧本。影片讲述了作家西多妮·佩西瓦尔时隔40年再版她的第一部小说，并前往日本宣传的故事。在那里，她终于能够摆脱创伤性的过去，并找到了新的爱情。

本片改编自威尔士作家比尔·詹姆斯的同名小说，两个特立独行各有怪癖的女调查员来到一法国小镇，调查一起阿尔及利亚线人的谋杀案，进而引发一系列连锁反应。一个凶神恶煞到处出击，另一个兴高采烈强力围观，真是完美无缺。看似荒唐可笑的闹剧折射出当下法国的诸多社会问题。曾获第66届戛纳电影节导演双周法国作家和作曲家协会奖特别提及。

该剧本由André Téchiné和Régis de Martrin-Donos撰写，以即将退休的技术和科学警察的特工Lucie为中心。一对年轻夫妇（一个小女孩的父母）来到他的小区，这让他孤独的日常生活感到不安。当她爱上她的新邻居时，她发现父亲Yann是一名反警察活动家，有着沉重的犯罪记录。Lucie的职业良知与她帮助这个家庭的愿望之间的道德冲突将动摇她的确定性......

Festival d’Avignon, été 2021.
Une comédienne, un comédien, face à leur rôle, leur texte, juste avant les représentations.
Devant la caméra documentaire de Benoit Jacquot, Isabelle Huppert et Fabrice Luchini au travail.

Featured in Les Grandes fictions de la télévision: Collection intégrale de 24 fictions (2010) See more ：

来自法国的旅行者伊丽丝在韩国担任法语家庭教师赚取生活费。语言的隔阂让她和学生之问的交流充满错位感，东亚文化中不善于思考和表达内心情感的“痼疾"又与渴望交流与开放的心态交织在一起，触发了只有异国旅行者才能感受到的特殊孤独与惆怅。被誉为韩国作者电影第一人的导演洪常秀继《在异 国》《克莱尔的相机》之后与法国国宝级女演员伊莎贝尔·于佩尔再度合作，用极简主义的拍摄手法呈现细致入微的人际关系精妙互动，斩获2024年第74届柏林国际电影节评审团银熊奖。