《为你疯狂》说的是大明星雪郎为追寻少年时代的一段恋情来到上海，罪犯找到了当年不辞而别的米娜，罪犯然而旧情不再，他第一次尝到被拒绝的痛楚，就在这时他结识了对他非常痴迷的追星少女毛妹，使毛妹获得意外的惊喜。而毛妹的男友小涛得知毛妹竟留雪郎过夜，不由大动肝火。几个月后，雪郎再度来上海拍戏，因伤感而误了拍戏，这时小涛挺身而出，顶替雪郎拍跳楼一场戏，毛妹终于从梦中清醒过来，其实好男人就在身边。片中女主人公毛妹由台湾当红影星林心如饰演，香港影星温兆伦饰演雪郎，青年演员向能在片中也有不俗表现。
莫文蔚
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
张杏月
回复 :李国强（王志文 饰）和何利英（江珊 饰）是一对结婚多年的夫妻，两人共同抚养着懂事听话的儿子，家庭生活在一片幸福的氛围之中。何利英刚刚学会开车没多久，一天晚上，天上下着瓢泼大雨，何利英驾车驶在路上，撞到了一名行人，慌乱之中，何利英选择了逃跑。当晚月黑风高，没有人知道这场车祸的发生。之后的日子里，何利英的内心里背负上了沉重的枷锁，她不忍心让自己的家庭走上破碎的道路，却又时时被道德感和愧疚感折磨。车祸现场出现了一个举着牌子寻找目击证人的小女孩，这个小女孩的出现将何利英的精神推向了濒临崩溃的边缘。李国强发现了妻子的异样，他决定挺身而出，和妻子共同背负她所犯下的罪行。
宇桐非
回复 :下属的一个失误令身为上司的郑凯（黎明 饰）事业陷入困境停滞不前，不仅如此，他还得承担下属造成的巨额损失。郁闷至极的郑凯只能借酒消愁，在酩酊大醉之际，一位陌生的黑车司机（耿乐 饰）将郑凯送回了家并且留下了电话，此时的郑凯并不知道，这名神秘的男子，将彻底改变他的一声。黑车司机反常的态度和疯狂的举动令郑凯感到不寒而栗，他并不记得自己和此人说了什么，那一夜两人又经历了什么。没过多久，一直为难郑凯的上司突然惨死，而郑凯则成为了警方重点怀疑的对象，只有郑凯知道，这一切和黑车司机有着脱不清的干系，而随着时间的推移，黑车司机已经在不知不觉中来到了他的身边。
