幽灵女孩

　　盛夏。一个古老的庄园。14岁的米佳在这里的夏令营度过了告别童年的100天。集合号、升旗仪式、懵懂的初恋、幻灯片上蒙娜丽莎的微笑、到邻近的集体农庄参加劳动、把莱蒙托夫的《假面舞会》搬上夏令营的舞台，这些便是米佳在“森林岛屿”夏令营中的主要生活。在感受大自然的美好和文学丰盈滋养的同时，米佳也经历着单相思的沮丧和对童年即将过去的怅惘。影片按11个标题划分出段落，每个段落衔接自然。影片内在的韵律节奏推进着情节的发展。
　　导演谢·索洛维约夫天才地将绘画、文学和音乐贯穿在本片中。用美和智慧拯救心灵似乎是他一贯表达的主题。本片也不例外。少年纯净天真的气质、内心尖锐的疼痛、自我意识的雏形都得到了完好的呈现。在镜头描绘大自然、光与影的细微图层的同时，索洛维约夫捕捉着人物转瞬即逝的情绪变化，就是在这样一个孤立的岛屿和人生必经的一段旅程上，主人公内心的力量慢慢积蓄。
　　无论是《童年过后一百天》，还是之后的《白夜的旋律》、《阿萨》、《黑玫瑰——悲伤的象征，红玫瑰——爱情的象征》、《星空下的房子》等，几乎所有索洛维约夫的影片都涌动着喷薄而发的激情，充满着无尽的魅力。
　　本片获1975年柏林电影节银熊奖，1977年苏联国家奖金。

　　该系列的电影剪辑。艾在国外学习，直到他因吵架被开除后，他的父亲强迫他返回泰国，他在他任教的大学上课。在那里，艾遇到了骑哈雷戴维森的新同学陈南海，他痴迷于一个黄色的鸭钥匙扣。艾一见钟情，一场旋风般的爱情随之而来。~~改编自小说《爱龙纳萨科恩(นทกร).)的《海》(อัยย์หลงไน๋)
　　Movie cut of the series.
　　Ai studied abroad until, after being expelled for quarrelling, his father forces him to return to Thailand where he attends classes at the university where he teaches. There, Ai meets Chen Nhai, his new Harley Davidson-riding classmate who has an obsession with a yellow duck keychain. Ai falls in love at first sight and a whirlwind romance ensues.
　　~~ Adapted from the novel "Ai Long Nhai" (อัยย์หลงไน๋) by Nathakorn (นทกร).

　　《画皮》根植经典，奇幻为表象，以“人妖情”为切入点，讲述了女妖小容和书生王怀卿及其妻子阿若的痴缠虐情，开启了一段人妖在心色皮相、生死劫难之间的疯狂历程。

　　故事从慈祥的爷爷给生病的孙子讲故事说起，爷爷带来一本厚厚的童话故事书《公主新娘》。这个世代相传的童话故事讲述了一段爱与冒险的真爱故事。善良美丽的少女布卡特（罗宾·怀特 Robin Wright 饰）住在宁静的小村庄弗洛林，她与少年维斯特雷（加利·艾尔维斯 Cary Elwes 饰）青梅竹马两小无猜，两人很快陷入热恋。然而贫穷的维斯特雷希望给布卡特更好的生活，于是扬帆远航离开了村庄。但是维斯特雷的船并没有到达目的地，传言说他死在了海盗的手里。五年后，伤心欲绝的布卡特成为了王子胡姆普丁克（克里斯·萨兰登 Chris Sarandon饰）的未婚妻，可她并不爱他，她的心里仍苦苦思念着真爱维斯特雷。一次意外让布卡特再次遇见了维斯特雷，然而邪恶的王子却绑架了布卡特，并逼迫她嫁给自己。此时的维斯特雷已是一位勇敢强壮的海盗，为救真爱，他与武艺超群的剑客埃尼戈·蒙托亚（曼迪·帕廷金 Mandy Patinkin饰）、力大无比的巨人菲兹克（安德烈·捷安特 André the Giant饰）一起踏上了拯救公主之路。
　　本部童话式爱情冒险电影《公主新娘》，荣获1988年第60届奥斯卡金像奖最佳原创歌曲提名，1987年第12届多伦多国际电影节人民选择奖-最佳故事片奖以及1988年第15届美国电影电视土星奖最佳奇幻电影。

　　本影片根据菲利普·K·迪克的短篇小说《规划小组（Adjustment Team）》改编。
　　天生就适合走上政治舞台的大卫·诺里斯(马特·达蒙 Matt Damon 饰)，是一名政坛的明日之星，他在信心满满的参选纽约州参议员期间，意外认识了认识美丽的芭蕾女演员爱丽丝(艾米莉·布朗特 Emily Blunt 饰)，两人一见钟情，正当情意正浓时大卫突然被一群穿黑西装、戴黑帽和墨镜的神秘人士绑走。这群自称是隶属于联邦的人生命运调整局的人，告诉大卫他命里该当总统，伊丽丝也会成为世界著名的编舞家，他们的相爱会使两人的前途都成为泡影。规划局想尽一切方式阻止两人再次相遇。知道真相的大卫是会追求自己的梦想而放弃爱丽丝？还是为了真爱，对抗命运调整局呢？

　　A German woman goes to the town on the Red Sea where her Arab lover has just died. Beyond a simple story of mourning, the invention of an eerie port town by this young Jordanian filmmaker has Durassian echoes: the death of both a man and a city. The odyssey concludes in a hotel bar, backed by a popular Middle Eastern song.

　　英国王室的成员因为一次意外，全部去世了。皇室后继无人，却惊喜发现民间还有一名皇室后裔。这个人就是拉尔夫（约翰•古德曼 John Goodman饰），他热爱摇滚，喜欢无拘束的生活。然而让他去当国王，却有点违背他本性——果然，进入白金汉宫后，拉尔夫完全不了解各种礼仪仪式，闹了不少笑话，幸得老勋爵薛杜尔相助教导。
　　议会会长对拉尔夫极为不满，收买了脱衣舞女米兰德来勾引拉尔夫企图破坏拉尔夫声誉，迫其退位。果然米兰德却与拉尔夫相谈甚欢。有外国来访，拉尔夫忘记礼仪大出洋相，不料外国元首却偏偏喜欢这种自由的风气。英国政府希望拉尔夫与芬兰公主成就一桩政治婚姻，拉尔夫却因为米兰德的出现搞砸了这个计划。或许，拉尔夫根本就无心这个宫廷内。

一名負債累累的男子勉強同意騎車載一名美國遊客遊覽印度各地，兩人的南轅北轍導致口角不斷，卻也意外培養出感情。

　　玛利亚（达科塔·布鲁·理查兹 Dakota Blue Richards 饰）的父亲身负重债，逝世后只留给了她一本厚厚的古书《月亮坪的历史》，里面记载着月亮公主与白马的童话。十三岁的玛利亚变成了孤儿，来到月亮坪庄园投靠叔叔本杰明（艾恩·格拉法德 Ioan Gruffudd 饰）。然而入住古堡不久，玛利亚就发现怪事接踵而至：她的东西总是被到处乱放，屋里的钢琴会自动演奏，夜里甚至有一匹白马的影子在屋外晃荡……然而对于这些疑问叔叔却只字不肯透露，玛利亚只好偷偷翻阅那本被叔叔藏起来了的古书，终于得知了月亮坪上一段久远的神秘往事与仇怨，原来整个山谷已被月亮公主的诅咒笼罩百年，唯有等待一位拥有纯真心灵的解咒人出现……
　　本片改编自英国儿童文学作家伊丽莎白·古吉的经典小说《古堡里的月亮公主》。

　　《爱是永恒》改编自法国作家艾莉丝费尼的小说，描述十九世纪末，正当双十年华的范伦婷爱上朱勒斯，两人决定共组美好家庭，却遇上世界大战爆发。
　　三代法国女人的生命历程，谱出一部跨越百年的绝美史诗。十九世纪末，正当双十年华的范伦婷爱上朱勒斯，两人决定共组美好家庭，却遇上世界大战爆 发。二十世纪末，一位法国女子不顾一切奔向爱人的怀抱，她是范伦婷的孙女，他们留下爱情的结晶与传承。百年岁月流转，男人与女人相遇、相恋、相守并生儿育女，谱成一部家庭史，战火无情，唯有爱能永恒。
　　近代大师陈英雄以他的第一部电影「青木瓜的滋味」夺得坎城影展金摄影机奖，接著又以「三轮车伕」勇夺威尼狮影展金狮奖。这是他回归法国影坛，第三度与『华人第一摄影』李屏宾合作，集结法国当代三大女星包括奥黛莉朵杜、梅兰妮萝伦及贝芮妮丝贝乔，拍摄一部以三代女人为主题，跨越百年的史诗电影。奥黛莉朵杜饰演年轻少女、少妇到年迈的寡妇，挑战老中青三代高难度的角色。

　　二战后，英国律师William Collyer（西蒙·拉塞尔·比尔 Simon Russell Beale 饰）的妻子Hester Collyer（蕾切尔·薇兹 Rachel Weisz 饰）邂逅了退役的飞行员Freddie Page（汤姆·希德勒斯顿 Tom Hiddleston 饰）。生活空虚寂寞的Hester和年轻英俊的Freddie陷入了一段不伦之恋。此事不久即被Hester的丈夫William发现。后来，Hester认为Freddie不再爱她了，于是尝试自杀。她没有成功，Freddie在读完她的遗书后勃然大怒。最后，Freddie终于决定离开她，去一个遥远的地方继续他的飞行员生涯。Hester只能望着Freddie离开的背影黯然神伤......

　　Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
　　If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
　　[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
　　To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
　　More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
　　(Howard Schumann, talkingpix.co.uk)
　　In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
　　(Dennis Schwartz, homepages.sover.net)
　　I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
　　(Dave Sindelar, scifilm.org)
　　See also the remake: Death Takes A Holiday (1971)