剧情简介
22世纪科技的进步使生育过程简化而无情趣，英雄王教授研究时光机器派两位女性回到1995年借种怀孕。当亚华和安妮回到过去，英雄分别遇到喜欢的人，安妮为爱想留在1995年，亚华更是爱上自己的外曾祖父。
英雄之城
22世纪科技的进步使生育过程简化而无情趣，英雄王教授研究时光机器派两位女性回到1995年借种怀孕。当亚华和安妮回到过去，英雄分别遇到喜欢的人，安妮为爱想留在1995年，亚华更是爱上自己的外曾祖父。
徐洪武
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
海鸣威
回复 :經營經典唱片行多年的老闆李奧納多，唱片生意因為大環境改變而沒落，不得不歇業並找份工作來維持生計。但苦尋不到合適工作之下，他只好暫時在叫車服務程式當司機。由於白天顧孩子晚上工作，他與太太棠恩的關係因為相處時間變少而開始出現問題，加上夜晚載客出現的各種誘惑，李奧納多該如何安穩度過這段中年危機？
杨小琳
回复 :电影导演圭多（马塞洛·马斯楚安尼 Marcello Mastroianni 饰）在完成了一部影片之后感到筋疲力尽，他来到一处疗养地休息，同时开始构思下一部电影。他受到恶梦的困扰，精神不振，灵感也陷入停滞。他让情妇卡拉（桑德拉·米洛 Sandra Milo 饰）也来到疗养地和他作伴，但卡拉的到来反而增添了他的烦恼。此时，充满朝气的年轻女郎克劳迪娅（克劳迪娅·卡汀娜 Claudia Cardinale 饰）的出现，令圭多压抑的世界乍现出一抹亮色。然而随着圭多妻子路易莎（阿努克·艾梅 Anouk Aimée 饰）以及许多电影圈人士纷纷来到疗养地，圭多不堪忍受个人感情生活的混乱与电影拍摄的双重压力，他的精神危机愈演愈烈，梦境与幻觉不断侵入他的现实生活……本片荣获1964年奥斯卡最佳外语片和最佳服装设计（黑白片）两项大奖。
