竞走女王

十二岁的妮娜是一个游泳运动员，每天最好的时光就是在泳池里度过，她的妈妈和所有中国家长一样，全程陪伴，并对她的未来充满期待。然而妮娜父母的婚姻并不十分称心如意，可以说步入中年千疮百孔。作为父母的伟大之处就是孩子的成长胜于一切。片中的爸爸妈妈尽最大的努力克制隐忍，在孩子面前演绎一个好父亲好母亲形象。片中没有无休止的争吵和狗血的家庭矛盾冲突，只有细水长流的生活点滴。即便婚姻陷入一地鸡毛，看到妮娜取得一点点成绩，妈妈也会露出开怀大笑。我们看不到互相指责争吵的画面，面对女儿，爸爸温柔细心，妈妈眼里含着爱的光芒。只有两夫妇相对的时候才能看到两人眼里的无奈和冷漠。本片颇觉教育意义的是，如何在没有爱情持续的婚姻里给与孩子一个健康的成长环境，这是东西方都面临的一个课题。

　　威诺古尔表示该片就是聚焦宇航员在去往太空执行任务之前的准备工作，“活动正式进行之前的准备工作对于宇航员来说是最难熬的一部分，因为你一旦到了太空中就万事俱备，而在此之前你要与亲属们道别，还要为身体做充足准备来适应环境，是关于你如何将恐惧与疼痛安置于生命之上的概念。我们意图是将其造成一个超级女英雄兼普通母亲的角色，母亲这一角色在其他影片里通常都很弱，是时候证明女性不仅可以是一位母亲，还可以成为一位伟大的宇航员。”该故事基于威诺古尔本人同自己女儿的分离经历，伊娃·格林将会接受法国宇航员托马斯·佩斯凯的培训。

　　大导演严俊又一警世之作，根据蒲松龄《聊斋志异》同名故事改编，描述明末期间，才女连琐（李菁）因救父而误杀奸徒，复投井自尽。十多年后，才子杨于畏（李丽华）因逃避奸臣追捕，投奔父执世交唐尚书（井淼）；怎料唐尚书趋炎附势，拒不收留，幸得老仆李贵（顾文宗）忠义，引于畏于一荒废书馆躲藏。于畏夜间无意与连琐相会，夕夕相对，发生一段人鬼之恋。唐尚书义女连闱（李菁分饰）与连琐原属同胞姊妹，跟于畏早有婚约。连闱妒恨亡姊迷惑于畏，指挥仆役火焚书馆，不料失足而死；连琐得借妹屍还魂，与于畏终成眷属。此片由天皇巨星李丽华反串男主角，而「亚洲影后」李菁分饰连琐及连闱两姊妹，一正一邪，一人一鬼，表现出众。

　　搬到一个偏远的小镇多年后，前警察皮帕在家中发现一具尸体，也因此重返她以为已经远离的黑暗世界

北京某高校机械物理学大神钟浩，为了帮助即将失业的开蒸汽小火车的父亲，计划将研究“超音速模拟现实装置”这项技术融入到蒸汽小火车中，帮助父亲解决失业问题，但与此同时，自己一直潜心研究的实验正到了最为关键的一步……

　　一支为一家前卫媒体公司效力的美国摄制组前往阿根廷，意图报道一位有望在网络上爆红的音乐家。然而，当他们意识到自己来到了错误的国家时，决定雇佣当地人来制造一场虚拟的趋势。

　　王小波乘着直播行业广泛流行而取得直播平台创业初步成功，请来行内培训高手加速打造网红基地，激烈行业竞争环境下他旗下直播艺人忧郁症自杀，王小波下属和王小波妻子奇怪约会飙车。在一系列悲惨的经历过后，王小波妻子安琪毅然意接手经营，意识到利用自身直播平台做公益直播更容易吸引人们加入，与此同时帮助各地各行各业。安琪带领团队改变了行业不良之风，树立了直播网红的清风正气。

　　影片导演艾米利奥·艾斯特维兹是本片主演马丁·辛的大儿子，这是这对父子在影视剧里的第七次合作。
　　美国医生汤姆（马丁·辛 Martin Sheen 饰）在儿子丹尼尔（艾米利奥·艾斯特维兹 Emilio Estevez 饰）不幸在法国遇难之后，动身前往法国取回儿子的遗体和遗物。丹尼尔死在了比利牛斯山，在去往圣地亚哥德孔波斯特拉大教堂的朝圣之路上，他遇到了暴风雨，然后就这么平静地离开了人世。这条通往教堂的路，又被叫做“圣雅各之路”（Way of St. James）。
　　最初，汤姆的目的只是取回丹尼尔的遗体，但是在到达了法国之后，汤姆却决定要重新将丹尼尔已经走过的和没有走完的路重新走一遍，以更好地体会儿子的生活、更好地理解自己的孩子。在重走圣雅各之路的过程中，汤姆遇见了三个从不同国家来到这里的“徒步旅行者”，他们都在寻找着生命力更大的意义，并希望通过徒步重新在世俗的世界里得到心灵的慰藉。

　　性格孤僻的男孩塔塔，跟父亲、妹妹和奶奶一起生活在一个怪诞、神秘的村庄里。塔塔的父亲是村长，妹妹正在上小学，他们一家靠卖羊奶为生。塔塔和羊奶加工厂的女司机巫行云相爱，性情古怪的巫行云一直想拍电影成为大明星，她试图加入一个到城里拍电影的神秘剧组但被拒之门外，塔塔很希望帮她实现梦想却无能为力。巫行云决定去参加伊比利亚的派对，实现自己的巨星梦。她走了以后，塔塔变得愈发孤独，只有驴在默默地守护着他。而在分别前，巫行云把村子里一个关于羊奶的秘密告诉了塔塔。

多年来远离战乱，岁月安好的“无常镇”接连发生了一连串的意外死亡事件。侦缉队队长陈墨在调查的过程中，救出了溺水的少女白霜。在与白霜的配合下，他们一次次赶赴死亡现场，却一次次与死神擦肩而过。众目睽睽下的意外死亡，到底是天灾还是人祸？

　　42 岁的阳子很久以前就放弃了自己的梦想和生活，她把自己与世界其他地方隔绝，在家做在线客服，从不离开自己的小公寓。当她收到早就疏远了的父亲去世的消息时，她的堂兄强迫她离开房间，与家人一起乘车回家，这是二十年来她第一次回家。然而，阳子最终独自一人留在了高速公路的休息站……没有手机也没有足够的钱乘坐公共交通，阳子别无选择，只能搭车去参加她父亲的葬礼。

　　In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.
　　The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).
　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.
　　As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.
　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.
　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.
　　Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.
　　The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.
　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.