2021 澳洲雪梨狂歡同志影展 Mardi Gras Film Festival2020 西雅圖酷兒影展「從白得清晰分明的監獄粉牆，春暖到氛圍更加曖昧幽微的拉美社會，春暖這部片能讓人毫無壓力地沈浸其中。兩位健壯迷人的演員擁有十足的發揮空間，也在鏡頭引領下讓觀眾們無法自拔陷入劇情中。」— 酷兒影評魯本和卡洛斯是獄中同窗。當魯本還在努力摸清監獄生活中的條條框框之際，卡洛斯先是成為了他的領路人，而後終成為了他的情人。兩人在獄中對彼此產生了難以名狀的情感，然而在他們獲遭釋放後，問題也隨之湧現⋯⋯
回复 :本武侠片拍于1971年，由郑昌和自编自导。故事描述，明皇身染恶疾，驾崩在即，却无子可继帝位；皇姪世子杰本可继位，惜不成器，难当大任。皇弟徽王想起明皇曾与东宫宫女生有子女各一，现时藏匿于东阳县，遂命锦衣卫刘玄平(金汉 饰)寻找公主与王子的下落。刘玄平路上屡遭世子杰爪牙追杀， 幸得侠士来如风(罗烈 饰)相助……
回复 :三谷幸喜经过四年久休复出，连同一众当红演员呈上拿手喜剧，让各大影迷一饱眼福。一天从医院醒来，Kurada不只发现自己失忆兼无钱找数，竟然还是当今日本首相！只是这个首相真的不太爽，原来他民望跌破新低，还因此受袭昏迷。三个忠心秘书论论尽尽终于把他捉回办公室，再绞尽脑汁隐瞒老板失忆的事实，对象除了市民、记者，竟还有首相夫人。三谷幸喜把荷里活经典喜剧桥段放到日本政治斗兽场，以幽默感笑尽社会百态，拍出这出令人拍案叫绝的官场现形记。
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
