素有「新浪潮祖母」之称的导深安妮华达,欧美以拟迈化及不受考据限制的嘉剧风格,欧美来表达「电影一百周年」这个严肃的主题。已经一百岁的电影先生有感于生命稍纵即逝,遂雇用年轻女孩卡蜜帮助他对一百年来的电影纪事做一番回顾。家里就是一座博物馆的电影先生,对电影如数家珍,完全沉溺在往的的电影情怀中。卡蜜除了每天接受电影洗礼外,更因电影先生的关系,经常接触到许多大明星,如马斯楚安尼、杰哈德巴狄厄、凯萨琳丹妮芙、劳勃狄尼洛等,甚至连亚兰德伦听到电影先生病了都特地赶来看他……
素有「新浪潮祖母」之称的导深安妮华达,欧美以拟迈化及不受考据限制的嘉剧风格,欧美来表达「电影一百周年」这个严肃的主题。已经一百岁的电影先生有感于生命稍纵即逝,遂雇用年轻女孩卡蜜帮助他对一百年来的电影纪事做一番回顾。家里就是一座博物馆的电影先生,对电影如数家珍,完全沉溺在往的的电影情怀中。卡蜜除了每天接受电影洗礼外,更因电影先生的关系,经常接触到许多大明星,如马斯楚安尼、杰哈德巴狄厄、凯萨琳丹妮芙、劳勃狄尼洛等,甚至连亚兰德伦听到电影先生病了都特地赶来看他……
回复 :张绍斌(黄成麟 饰)在结束了军旅生涯之后退伍回到家乡,回家之前,他受父亲所托,买了一头驴一起带回去。然而,在路上,张绍斌邂逅了名为丘梓馨(李若嘉 配音)的女孩,丘梓馨在误打误撞之中得到了人贩子的账本,随后便失去了记忆,无法将这个楚楚可怜的女孩弃之不顾,无奈之下,张绍斌只得先放下手中的事情,帮这个女孩寻找记忆。人贩子丢失了重要的账本怎会善罢甘休,他一路跟踪着张绍斌和丘梓馨两人,伺机而动。刘鸣(候凯文 饰)的父亲是公安局局长,他却被父亲以锻炼的名义发配到了县级公安局工作。账本让刘鸣误会了张绍斌和丘梓馨是人贩。
回复 :这个城市里游荡着一个连环杀手,专挑特定女性下手。与此同时,公司职员孙小宝觉得最近有个黑衣人跟踪自己,而且明显地感觉到自己最近状态不佳,经常大脑一片空白,在自己不知情的情况下做出一些莫名其妙地事。 黑衣人如影随行,其后孙小宝遭遇了几次“失忆”,孙小宝清醒后发现自己均置于危险境地。孙小宝隐隐觉得自己被人暗算了,于是孙小宝报了警。 孙小宝生活在不断地失忆与恐惧中,警察也向孙小宝反馈了调查结果:结合目击者与监控录像,警方认为没有证据显示有人要对孙小宝不利,跟踪者也不存在。警方认为孙小宝可能是因为压力太大而出现了幻觉,建议孙小宝去看医生。
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.