剧情简介
嫉恶如仇，法兰不畏强权的警察李铁坚从元朗调到尖沙嘴做组长的第一天早上就在路上遇到了一起斗殴抢劫案件，法兰他一个人制服三个混混。李铁坚的妹妹彤彤从美国回到香港，高兴的与哥哥相见，彤彤的男朋友是加州大学的博士，他的父亲是当地有名的有势力的人,与彤彤在迪斯科舞厅跳舞，被李铁坚一组看到，李铁坚护妹心切，派手下摸的底，却没想到被父亲的手下一顿胖揍。于是，混乱的局面形成了.....
我的法兰西岁月2004
嫉恶如仇，法兰不畏强权的警察李铁坚从元朗调到尖沙嘴做组长的第一天早上就在路上遇到了一起斗殴抢劫案件，法兰他一个人制服三个混混。李铁坚的妹妹彤彤从美国回到香港，高兴的与哥哥相见，彤彤的男朋友是加州大学的博士，他的父亲是当地有名的有势力的人,与彤彤在迪斯科舞厅跳舞，被李铁坚一组看到，李铁坚护妹心切，派手下摸的底，却没想到被父亲的手下一顿胖揍。于是，混乱的局面形成了.....
回复 :色衰愛弛，慾望卻不肯老去；記憶衰退，妒忌仍未許忘掉。她依舊沉默，在探戈的試探中尋覓愛與被愛的感覺；他繼續怒憤，在情婦懷裏渴求妻子的慰藉。老夫妻由互相深愛變為彼此折磨，困於各自的孤寂。女兒已離巢遠去，留下只有年輕女傭，打理家居之時，試圖理順兩個被心魔磨蝕的生命。墨西哥大師利普斯坦以冷峻且溫柔的黑白光影，探進垂暮情慾與執迷的幽微地帶，伴着《藍天使》的悠揚樂韻，讓愛與痛在皮囊的皺摺間，深邈迴盪。
回复 :Years after an alien invasion almost extinguished human mankind, refugee on a secret base on the Moon, three heroes decide to jump into a time travel in the desperate attempt to save the survivors but they don't know that the Sentinel is waiting for them.
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
