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导演:
主演:
林志颖,张娜拉,那威,万思维,王子子,肖剑,陈佳佳,肥龙,朱虎声
上映:
2012
备注
HD
类型:
电影
剧情:
  “苍狼”特警队在原始森林中展开大搜捕;一支神秘队伍在森林中前行。他们的目标似乎都是“劫匪”许逸凡(林志颖 饰)和“受害人”何芊芊何芊芊(张娜拉 饰)。  特种兵出身的许逸凡让阅历不丰的何芊芊第一次感受到天下竟有和自己男友萧寒(万思维 饰)截然不同的男人。凭着许逸凡特种兵的经验,他们最终克服艰难险阻,走出了原始森林,但却与“呆哥”(陈佳佳 饰)遭遇而大展拳脚,最终被“苍狼”特警队俘获。  何芊芊的男友萧寒长相俊帅,学识渊博,深得何芊芊喜爱和爸爸何振雄(朱虎声 饰)的赏识,被安排在何振雄公司做副总。看着爸爸的身体愈来愈不好,何芊芊按照与爸爸签订的“合约”,还是决定与聚少离多的萧寒结婚,以了却爸爸的心思。然而,许逸凡的出现,完全打乱了这对恋人的生活。  林雨馨(王子子 饰)经何芊芊的挽留,也来到了何家暂住。当晚的一场化妆PARTY,让苦苦寻找男友的林雨馨有了重大发现。第二天,林雨馨不辞而别。  一宗扑朔迷离的奇案发生了,是情杀,还是劫持?伴随着案件的侦破,一段生离死别的奇缘揭开了!…

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2010 其他
O somma luce
GiorgioPasserone
  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 Straub  The 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…
HD

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