剧情简介
港商在舞厅认识舞女(叶芳华饰)，双甲与其开车兜风，双甲撞上一辆面包车。争执中港商保镖重伤一人，原来此人是公安局长儿子。保镖索性杀面包车上的人灭口，更挟持港商索要跑路费。在公安的追击下保镖杀港商逃命。舞女也自愿加入逃亡。五人潜入池塘躲避警犬，保镖头目(林保怡饰)的亲弟小明溺死。逃亡路上保镖头目与舞女产生情愫……
双甲路边摊
港商在舞厅认识舞女(叶芳华饰)，双甲与其开车兜风，双甲撞上一辆面包车。争执中港商保镖重伤一人，原来此人是公安局长儿子。保镖索性杀面包车上的人灭口，更挟持港商索要跑路费。在公安的追击下保镖杀港商逃命。舞女也自愿加入逃亡。五人潜入池塘躲避警犬，保镖头目(林保怡饰)的亲弟小明溺死。逃亡路上保镖头目与舞女产生情愫……
静婷
回复 :本片讲述了庄老大生活在农村，年近四十也没有结婚。母亲为此事感到担忧，村里的媒人及庄老大的弟妹一起给老大提亲，庄老大像木偶一样从农村一直相亲到城市，把相亲搞出一连串笑话。一次阴差阳错的见义勇为，让老大找到真爱……
痛苦的信仰
回复 :密苏里州西北部奥萨克地区17岁的少女芮（詹妮弗·劳伦斯 Jennifer Lawrence 饰）独自照看生病的母亲、12岁的弟弟和6岁的妹妹。芮的父亲屡次因制毒成为警察追捕的目标，这次也不例外，数月潜逃未归。眼看出庭日近，芮得知若父亲不出现，作为抵押，全家居住的老屋就要 被法院收走。芮决定寻找父亲的下落，哪怕这意味着她必须接触她那些靠制毒贩毒为生的危险远房亲戚。芮最先求助于叔叔“泪滴”（约翰·哈克斯 John Hawkes 饰），却被赶了出来；她又去找远亲茉莱（德尔·迪克 Dale Dickey 饰），还是被无情驱逐。眼看上庭日迫在眉睫，芮也顾不得众人的劝阻，在这个贫困而又危险的农业社区里一步步接近真相……本片获柏林国际电影节C.I.C.A.E.奖和青年影院陪审团奖（Tagesspiegel），以及圣丹斯电影节评审团大奖和华道索尔剧本奖。
顾媚
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