主演：Douglas Keay Wilfrid Thomas
导演：保罗·阿尔蒙德
简介：本部纪录片是导演迈克尔·艾普特从1964年开始拍摄的纪录片系列的第一部。迈克尔·艾普特在1964年为英国BBC电视台拍摄了记录片《7Up》，采访来自英国不同阶层的十四个七岁的小孩子，他们有的来自孤儿院有的是上层社会的小孩。此后每隔七年，艾普特都会重新采访当年的这些孩子，倾听他们的梦想，畅谈他们的生活。人生的轮回从这十四个七岁的孩子真实生活开始，他们天真无邪的脸上写满对生活的憧憬和渴望。“七岁看老”，在这童言无忌的问与答中，人生七年又七年，震撼上演。1964年，导演迈克尔·艾普特首拍此纪录片时，还是只是个助手。此后在他的不断努力下，积累了丰富的拍摄经验，成为知名导演。
主演：朱莉·安德鲁斯 迪克·范·戴克 大卫·汤姆林森 格莱妮丝·约翰斯 赫敏·巴德利 雷塔·肖 卡伦·多里斯 马修·加伯 埃尔莎·兰彻斯特 阿瑟·特雷彻 雷吉纳德·欧文 埃德·温 简·达威尔 阿瑟·马利特
导演：罗伯特·斯蒂文森
简介：故事发生在1910年的伦敦，班克斯先生（DavidTomlinson饰）是一名银行职员，而班克斯太太（格莱妮丝·约翰斯GlynisJohns饰）则醉心于女权运动，公务缠身的两人顾不上照料膝下的一双儿女麦克（MatthewGarber饰）和珍妮（KarenDotrice饰），只有请保姆代劳，可是，夫妻两人并不知道的是，古灵精怪的兄妹两，哪里是普通的保姆能够招架的了的！一位名叫玛丽（朱丽·安德鲁斯JulieAndrews饰）漂亮姑娘来到了班克斯家应聘保姆的职位，她刚刚出场就令麦克和珍妮留下了深刻的印象。原来，玛丽是一位仙女，她的到来让两个孩子重新感受到了亲情和友情，亦让班克斯先生和太太明白了什么才是生命中最终要的东西。
主演：德克·博加德 汤姆·康特奈 莱奥·麦凯恩 巴里·福斯特 彼得·科普利 詹姆斯·维利尔斯 杰瑞米·斯宾塞 Barry Justice Vivian Matalon 基思·巴克利 James Hunter Larry Taylor
导演：约瑟夫·罗西
简介：ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
主演：桑野みゆき 平幹二朗 園井啓介 岩本多代 富永美沙子 菅原文太
导演：中村登
简介：中村登是與木下惠介同期的日本巨匠，後期才建立風格，故海外極少曝光。他擅寫人物歲月中飄搖，如詩意境亦如詩深邃，代表作就是《夜之片鱗》。中村百年誕辰，日本印了全新拷貝，驚現《花樣年華》之前，已有如此相近風格。平行兩時空：芳江19歲，戀上黑社會，肉慾飽受摧殘，更淪為流鶯；芳江25歲，心如止水，煙視媚行，卻遇上真心脂粉客。時空交疊時，芳江芳心與方寸同樣凌亂。網狀物及橫移構圖，指向人物內在，與王家衛風格相映成趣。《青春殘酷物語》成名的女優桑野美雪，這一刻天使下一刻魔鬼，銀幕引力也不下於張曼玉。菲林放映，機會更難逢。
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