神龙策2

　　离家少女阿臻来到一个靠海的小镇，寻找未曾见过的生父。她在镇上结识了这家三兄弟：阿翰、阿庭和阿亮。三兄弟的母亲病重，长年在疗养院休养。父亲每天都会拉着一条绳子，带着三兄弟走去疗养院看妈妈。日复一日，直到疗养院传来母亲病逝的消息……夏日天空，烈阳高照。阿臻与这家人相处数日后 ，她的母亲突然来访，打破了小镇的宁静。原来，阿臻这趟旅程的目的，似乎不只是寻父这么单纯……

　　改编自越南古老的民间故事，情节类似于童话《灰姑娘》。

　　Lynn (22) lives with her brother in Berlin. There she enjoys the advantages of family life, without really feeling involved in it. She does not have any precise aim in life, but manages to awaken the interest of many people with her direct and spontaneous character. Her boyfriend David is very different: he is entirely engrossed in his very disciplined swimming training for the world championships. David does not intend to allow himself to be distracted by the complicating factors of a relationship with Lynn. When Lynn, working behind the till of restaurant, meets the Japanese student Koji, everything gets more complicated. They can't exchange many words, but it is soon clear that their moments together mean a lot to both of them.

　　英法联军烧毁圆明园后，又迫使懦弱昏庸的清政府签定了一系列不平等的条约，在中国的嚣张气焰可谓不可一世，胆小怕事的清帝咸丰（梁家辉）躲在了热河行宫内。除去皇后（陈烨），常在咸丰身边出没的妃子有丽妃（周洁）和懿贵妃（刘晓庆），懿贵妃极力讨好咸丰，但丽妃明显更受咸丰宠爱。
　　三十 寿诞时，咸丰突然重病不起，弥留之际，有心篡位夺权的大臣肃清（项堃）因看出懿贵妃为人十分有心计，私下建议赐死懿贵妃再立幼主，咸丰初听觉得有理，察觉肃清心怀不轨后，口谕他与其他七位大臣为辅佐幼主的摄政大臣，并赐“同道堂”印与懿贵妃，叮咛她与皇后齐心协力抚育幼主。咸丰大丧之时，肃清赠皇后与懿贵妃徽号慈安与慈禧，妄图哄骗她们掌握政权，但他终没斗过慈禧。收拾完肃清，慈禧亦没放过慈安。

　　彼得·格林纳威1987年作品，英国学院奖最佳编剧、最佳美术指导提名；戛纳参赛片。导演是画家出身，其作品的影像风格自然都是别具一格的色彩斑斓。
　　美国建筑师Stourley Kracklite和他已经怀孕的年轻妻子Louisa来到罗马组织一个纪念18世纪富于幻想力的法国建筑 师Etienne-Louis Boullée的展览。然而Kracklite却被腹疾所折磨，Louisa则与身为展览赞助者的潇洒的年轻建筑师Caspasian Speckler眉来眼去。电影有个特别的焦点，肚皮——建筑师生病的肚皮和妻子怀孕的肚皮，圆滚滚的形状直让人想起Boullée设计的那些圆顶建筑……

　　程晖（李美凤 饰）有着一段平淡而又乏味的婚姻，但她自己偏偏又是个浪漫爱好幻想的女人，于是只能将心中隐藏的激情挥洒在日记本中。某日，程晖家中来了窃贼，警探高政（万梓良 饰）奉命缉拿，就此意外的拾得了程晖的日记，发现了这个外表冷淡的女人内心里的火热。
　　高政无法自持的想要接近程晖，不惜投其所好隐瞒了自己警察的身份，面对这个突如其来的高大男人，程晖心动了，两人之间的距离越来越近。在上一次的行动中，高政击毙了一名窃贼，窃贼的弟弟决定替哥哥寻仇，将攻击的目标放在了程晖的身上。为了救程晖，高政暴露了真实身份，程晖惊觉受骗，悲愤之中选择了离开。

　　18世纪的路易斯安娜州，丧失妻女痛不欲生的庄园主路易（布拉德·皮特 饰）遇上了吸血鬼莱斯塔特（汤姆·克鲁斯 饰），被其施法变成吸血鬼。路易心存人性，不愿意吸血杀人，靠吸食动物的血为生，而莱斯塔特则一心要把路易斯教导成一个真正的吸血同类。
　　在新奥尔良，路易禁不起诱惑吸了小女孩克萝迪娅（克尔斯滕·邓斯特 饰）的血，而莱斯塔特则不顾路易斯的反对把克萝迪娅也变成了吸血鬼。三个人组成了一个奇特的家庭。
　　几十年过去了，克萝迪娅开始怨恨莱斯塔特剥夺了他真正的人生，她设计杀死了莱斯塔特，和路易周游世界，过着既像父女、又像情人的生活，寻找同类，也寻找着自身存在的意义。
　　在巴黎，他们遇上了以阿蒙（安东尼奥·班德拉斯 饰）为首的一群吸血鬼，聚居在剧院地下，过着和他们迥然不同的生活，阿蒙给了路易许多教导，想成为路易的新伙伴，为此，路易和克萝迪娅之间出现了裂痕，最终，酿成了无可挽回的悲剧。
　　1988年，路易斯返回了新奥尔良，向一个年轻记者马洛伊（克里斯琴·斯莱特 饰）讲述了自己的经历，讲述了吸血鬼长生不死背后的哀伤，不料，马洛伊在听完之后却被深深地吸引，一个新的吸血鬼的故事，将由此开始。

　　炎炎夏季，年事已高的女演员森本蓉子（杉本春子 饰）来到蓼科高原的山上避暑。迎接她的是帮助打理山中别墅已有30年时间的农妇丰子（乙羽信子 饰）及其女儿明美（濑尾智美 饰）。蓉子得知83岁的老园丁一年前自杀，并留下“就活到这吧”的遗言。谜样的话语让众人唏嘘不已。
　　不久，蓉子年轻时的演员朋友登美江（朝雾镜子 饰）和丈夫藤八郎（观世荣夫 饰）前来拜访，登美江患有老年痴呆，却执意再见好友一面，几个老年人度过了一段刺激有趣的美好时光。
　　数日后登美江夫妇离去，而蓉子亦在不经意间知晓了一个埋藏20多年的秘密……

　　故事发生在位于冲绳群岛西侧的粟国岛，在这里，依然保留着被称之为“洗骨”的古老风俗。当地人去世之后，亲人们会将他们的尸体埋葬在岛屿的西边，等尸体完全化为白骨之后，再将其取出洗净，只有这样，死去之人才能够真正的和现世告别。
　　新城刚（筒井道隆 饰）刚刚回到老家，准备帮母亲惠美子（大岛蓉子 饰）进行洗骨仪式，在这里，他见到了阔别已久的父亲纲（奥田瑛二 饰）。母亲的死给父亲带来了巨大的精神打击，他整日生活在悲伤之中，并且重新沾染上了酒瘾。和刚一起回家的，还有刚的姐姐优子（水崎绫女 饰），在名古屋做美发师的她也有着自己的困境。

　　Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police.
　　This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.

　　凌祖儿（王祖贤 饰）个性温柔可人，善良而又开朗，是广告公司的高级文案。赵国俊（江显扬 饰）出国深造，学成归来，准备投奔自己的哥哥，巧合的是，赵国俊的哥哥正是凌祖儿的上司。就这样，凌祖儿和赵国俊相遇了，青春烂漫的一对男女彼此之间很快就产生了真挚的感情，两人顺利成章地走到了一起。
　　然而，凌祖儿有着一段隐秘的过去，十八岁那年，叛逆的她执意嫁给了一位医生（石修 饰），还替他生了一个女儿，然而，凌祖儿遇人不淑，医生不仅花心，还极不负责任，两人的婚姻以破裂告终。就在凌祖儿和赵国俊浓情蜜意之时，久违的医生竟然回到了凌祖儿的身边，对她展开了热烈的攻势。

　　康沃尔渔村的风景明信片田园诗误导了人们。虽然过去钓鱼是一种养家糊口的方式，但如今富有的伦敦游客纷纷下山，取代了当地人，当地人的生计因此受到威胁。史蒂文和马丁兄弟的关系也很紧张。马丁是一个没有船的渔夫，因为史蒂文开始用它来为一整天的游客提供更赚钱的旅游。他们卖掉了这座家庭别墅，现在看来，最后一场战斗是和新主人在海边的停车位上展开。然而，情况很快就失控了，而不仅仅是因为车轮夹钳。
　　Bait是一种黑白，手工制作，16毫米胶片制作的电影。许多关于鱼、网、龙虾、长靴、绳结和渔篮的特写镜头让人想起了蒙太奇景点的理论。对不同社会阶层的描述——可以说是阶级关系——也让人想起了英国电影中的社会现实主义传统。然而，最重要的是，在影像中不同层次的电影历史参考文献之下，当前许多政治关联正在等待被发现。
　　The picture-postcard idyll of the Cornwall fishing village is misleading. While fishing used to be a way of supporting oneself, wealthy London tourists have now descended and are displacing the locals, whose livelihood is thus threatened. The relationship between brothers Steven and Martin is also strained. Martin is a fisherman without a boat, since Steven started using it for far more lucrative tours for all the day-trippers. They’ve sold the family cottage and now it seems that the final battle to be fought is that with the new owners over the parking space next to the sea. Yet the situation soon gets out of hand, and not just because of the wheel clamp.
　　Bait is a black-and-white film shot on hand-processed 16mm. Numerous close-ups of fish, nets, lobsters, wellington boots, knots and catch baskets bring to mind the theory of a montage of attractions. The depiction of the different social strata – one could speak of class relations – is also reminiscent of the tradition of social realism in British cinema. Above all, however, a whole lot of current political relevance is waiting to be discovered beneath the different layers of film historical references contained in the images.