一群大盗在抢劫了一辆运黄金的马车后，坦丁首领本·韦德（格伦·福特 饰）在小镇上大意被捕。小镇警官并没有高兴多久，坦丁因为将韦德成功地送上法庭受审成了非常棘手的难题。正遭遇经济危机的农场主丹•埃文斯（凡·赫夫林 饰）为了一笔可观的佣金，加入了押送韦德的队伍。在等待3:10去往尤 马镇火车的过程中，押送的队伍面临韦德同伙的生死威胁，而且，韦德向丹提出了更好的价钱。面临金钱、生死和道义，他究竟会如何选择？ 最终押送之旅又将如何结束？
崔振英
回复 :1975年越战结束后，香港一度成为“第一收容港”，接收了大量越南难民、船民。这些人到港后，会被港府统一安置在羁留营。对于混在他们中间的越共，特工（特务）发现后会秘密杀害。在越战中侥幸捡得一条命的越南华裔胡越（周润发）随伙伴逃难到港后，如愿见到素未蒙面、后期曾中断联系的笔友李立君（缪骞人），后者是一名社会工作者，十分同情他的遭遇。当胡越反杀将他视作越共的特工后，李立君决定帮他办去美国的假护照。办护照时，胡越结识与他命运无差的沈青（钟楚红），两人讲好到美一起生活。胡越、沈青等人在菲律宾转机时，沈青及其他几个女孩被帮他们办护照的人秘密带走，为找到沈青，胡越放弃赴美良机，胁迫着该人来到菲律宾唐人街一家Bar，原来沈青是被骗到该处做实为妓女的Bar女。为了履行许下的要将沈青照顾的诺言，胡越答应老板钟仁（金彪）替他做杀手，并因之与另一杀手阿三（罗烈）结成兄弟。但他及沈青、阿三仅是钟仁手中的棋子。
佩班娜塔
回复 :World War I is coming to its end. Prisoners of war are coming into the town with Serb Ivo among them. During one of his escapes from the camp, he finds himself in a private garden. There he meets Lisa, the wife of the town-major - a severe and heartless colonel. She is sad, lonely and her meeting with the Serb develops into a deep mutual love. Their meetings become more frequent. But the lovers are doomed. The war prisoners are moved away and as Ivo comes to bid her farewell, he is shot to death. Written by Georgi Djulgerov {major@bitex.com}
周永恒
回复 :"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés.In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further.By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence."
