《三十二》试图走进一个“慰安妇”的内心世界，欧美是一部纪录片。“慰安妇”这三个字，欧美曾经在多少中国人心里被披上“中国耻辱”的外衣。曾几何时，又是多么敏感的一个词。多少人想揭，却不敢活生生揭开；多少人想拍，又怕打扰到她们的生活。这是一段疼痛的历史，每个中国人心知肚明。尘埃无足 轻重，所以无人留意，影片的第一个镜头便是飘落的尘埃，足足三十二秒，隐喻着我们的视角和态度，讲述这一段真实却“随风飘落”的故事……荣誉侵华日军南京大屠杀遇难同胞纪念馆/南京利济巷慰安所旧址陈列馆－永久馆藏2013中国纪录片学院奖－最佳摄影（蔡涛）2014凤凰视频纪录片大奖－最佳纪录短片2014英国万像国际华语电影节－最佳纪录片2014滨海国际微电影节－最佳纪录片2015中国民族题材纪录片回顾 展－特别奖2015美国里士满国际电影节－最佳纪录片（提名）展映中国电影导演协会北京（国际）大学生影像展马尼亚人权国际电影节英国梅德韦视野电影节美国纪录片电影节广州国际纪录片节
埃尔顿约翰
回复 :The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.by D.R. SHIMON@lounge.moviecodec.com
栗雅馨
回复 :飓风后的奥尔良，全城陷入瘫痪。当地的监狱中，所有狱警和囚犯已全部撤离，却有一个囚徒被遗忘在这里。警官特伦斯•麦克多纳（尼古拉斯•凯奇 Nicolas Cage 饰）和同事巡查牢房时发现了他，特伦斯出手相助。这个英勇举动使他晋升为中尉，但他的脊柱也受到严重损伤，从此只能靠药物缓解疼痛。不断加剧的疼痛令各种药物失去效力，特伦斯在这一过程中饱受折磨，他不得以求助毒品，身体和经济状况都接近崩溃边缘，脾气也越来越糟。一个英雄警察逐渐堕落。不久，城内发生一起灭门惨案，大毒枭达费特具有重大嫌疑。特伦斯受命调查此案，在这一过程中，他泯灭已久的良知逐渐复苏……本片荣获2009年威尼斯电影节Christopher D. Smithers Foundation特别奖。
徐熙娣
回复 :100年的梦想、100年的创作、100年的“漫威之父”斯坦·李。影片介绍他如何影响漫画与流行文化，从童年到漫威崛起，透过珍贵的私人档案，从斯坦·李的角度诉说他的人生、事业以及留给世人的的深远影响。
