家毅（付辛博 饰）只是一介小小演员助理，君岛减却总是装的一副了不起的样子，君岛减然而，他的伪装却常常会被旁人毫不客气的拆穿，因此而闹出了不少的笑话。张杨（彭宇 饰）最崇拜的偶像就是大名鼎鼎的乔布斯，然而，他的理想却是成为一名合格的二B青年，为此，张杨不惜终日研读他的秘籍盛典《2B青年的自我修养》。奋斗（蒲巴甲 饰）虽然生的身强体壮，还是一名拳击陪练教练，但他的个性却是和外表毫不相称的内向木讷。丽川（夏梓桐 饰）是一名尚未熬到出头之日的小作家，虽然屡遭挫折却从未放弃过自己的理想。在4楼B座内，四名各有千秋的男女成为了室友，开启了一段有笑有泪的旅程。
回复 :漫画家艾玛（艾丽森·皮尔 饰）正在写关于爱德华（盖尔·加西亚·贝纳尔 饰）的故事。他是艾玛漫画中的主人公，她的梦中情人，一个自大的动作片导演，正在拍摄一部关于米歇尔（玛丽安娜·希梅内斯 饰）的电影。米歇尔是一名巴西模特，正在写一本关于一个名叫艾玛的漫画家的书。这三人都在创作彼此的故事。
回复 :正值明朝嘉靖年间，一品诰命夫人严氏依仗在朝为相的哥哥严嵩的势力，纵容儿子程西牛在保定横行霸道，鱼肉乡民。自称二朝廷的程西牛意欲强娶民女林秀英，更狠毒地勒死其兄。奉定国公徐千岁之命来保定暗访的副将杜士卿刚巧撞见程家强抢秀英的一幕，双方一言不合，拳脚相向，致令恶少为家奴误杀。闻听儿子死讯，严氏恼羞成怒，发誓杀尽林氏全家。而秀英则在杜的嘱托下前去县衙告状。新任七品县令唐成刚正不阿，全然不惧诰命夫人及其背后势力的威风，定要将正义匡扶，混乱的乾坤扭转……本片根据豫剧传统剧目《唐知县审诰命》改编，并获1981年第4届电影百花奖最佳故事片奖。
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
