剧情简介
小人物韦宝宝（潘粤明饰）因为泡妞无意间卷入了一场黑帮间“黑吃黑”的争斗，寅次寅次迫于无奈只得假扮名为“薛先生”的毒贩以求保命却不料阴差阳错的遇到的了一心想办大案的“冒牌卧底”黄大强和文小天，寅次寅次还有已经在毒贩里面潜伏的线人“阿杰”（吴樾饰），由此引发了各种啼笑皆非的事情，而真正的幕后黑手也渐渐浮出水面……
寅次郎的故事13：寅次郎失恋记
小人物韦宝宝（潘粤明饰）因为泡妞无意间卷入了一场黑帮间“黑吃黑”的争斗，寅次寅次迫于无奈只得假扮名为“薛先生”的毒贩以求保命却不料阴差阳错的遇到的了一心想办大案的“冒牌卧底”黄大强和文小天，寅次寅次还有已经在毒贩里面潜伏的线人“阿杰”（吴樾饰），由此引发了各种啼笑皆非的事情，而真正的幕后黑手也渐渐浮出水面……
冯乔
回复 :中古世纪一对相爱的豪杰美人，在嫉妒的大主教（里昂•麦考恩 Leo McKern 饰）从中作梗下，以魔咒将两人化为永不能相聚的野狼（拉特格•豪厄 Rutger Hauer饰）与鹰女（米切尔•菲菲 Michelle Pfeiffer饰），白昼美女为鹰黑夜豪杰为狼，不过美人也因为可以化身飞鹰逃脱了好几次大主教的毒手。少年扒手（马修•布罗德里克 Matthew Broderick 饰）适逢其会看到他们的痛苦决定出手相助，虽然有时候因为他可以在黑夜里和美女相处而遭到狼武士的嫉妒而被抓到遍体鳞伤，可是少年还是出于商量和对美女的崇拜准备和邪恶的大主教战斗到底。但崇高的爱情是否可以真的破除法力高强的魔咒，白昼和黑夜是否真的可以相逢，武士能否最后抱得美人归和将大主教惩罚于他的剑下？本片获得1986奥斯卡奖的最佳音响 (Best Sound) 提名；最佳效果(音响编辑) (Best Effects, Sound Effects Editing) 提名。
李皆乐
回复 :贾巴尔·辛格（帕万·卡延饰）是一位孤胆警官，有万夫莫敌之勇，有一天突然被莫名其妙调往一个叫“拉坦普尔”的小镇，这是一块法外之地，现国王拜拉夫·辛格（沙拉德·凯卡尔饰）在此屠杀人民，攫取暴利，无恶不作。阿尔施（卡加·阿加瓦尔饰）是一位美丽的公主，老国王及王后均已过世，现国王拜拉夫及姑妈等人对她的财富和美貌虎视眈眈，尽管有司令官哈利·那拉延（穆克什·里希饰）的协助，仍感独木难支。这时，贾巴尔和阿尔施相遇了，群敌环伺和地位壁垒成为他们感情发展的障碍……
李濠
回复 :Based on an unknown Schönberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Schönberg’s atonal score, performed here by 70 musicians. That Schönberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Schönberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Schönberg canon—and the film such a challenging and intriguing experience.
