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(Listen from 0:50)

The song is in F Major

if you see at bar 4 from [B] (Gm7 G/B A/C#)

I don't get the G/B, How could G/B get to A/C# ?

Is it actually E7/B without the G# ? I don't get it

and if you see the beginning of the [C] part,

is Bb/F not actually IV/5 chord (subdominant),

and just a "I" Hybrid chord ? to use the Bb note ? or a Isus4 ?

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In my reading, this excerpt is really best understood as D minor, F major's relative minor. (Although the piece does play around with jumping into F at [C] and 5 bars after [C].)

The G/B moving through A/C♯ to Dm7 is actually just stock melodic minor; it's IV6 through V6 to i. Normally in D minor we'd expect a B♭, but the bass moving from B♭ to C♯ creates a somewhat harsh-sounding augmented second. As such, we often soften this interval to a major second by raising the sixth scale degree from, in this case, B♭ to B♮. (In this case it's very similar to my recent answer in Functional analysis of chorale 'Wie wunderbarlich ist doch diese Strafe' BWV 244/46)

And yes, you're 100% correct that the chord at [C] is best understood as a tonic chord with some upper non-chord tones. We call this a "pedal six-four" chord—basically, instead of a root-position chord, the intervals a sixth and a fourth above the bass delay the "real" chord members of a third and a fifth above—and it's very common in popular music.

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Gm7, G/B, A/C#, Dm. It's a IV, V, i cadence in D minor. The bass line uses the melodic form of the minor scale. The melody note F (the 7th of Gm7) resolves down to E as expected, but instead of a standard 'cycle of 5ths' C chord, the E is added to the G/B chord. Then back up to F (making it a G7 chord), another try at resolving down to E in an A7 chord, finally we rest on Dm. Nice!

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If you look at just the scope of G/B - A/C# - Dm7, the notes in G/B actually spell out an E minor triad... first inversion, drop 2? (I'm out of practice with my Terminology :P).

But essentially you have Em - A∆(Major) - Dm7.

You can view this as the typical "ii-V-I" jazz progression, without the 7ths in the chords (and in the context of Dm7 as your Tonic),
...or...
"ii-V to the relative minor of F(I)".

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