大名星朱丽娅·罗伯茨，开局蒂姆·罗宾斯，开局索非娅·罗兰，马塞洛·马斯楚安尼1994年主演。素以讽刺手法见长的大导演罗伯特．奥尔特曼向巴黎的时装界开刀，利用一次时装大展的举行来暴露其中内幕，最后甚至安排大批模特儿全裸出场以收震撼效果，不知电视上能否以原貌播出？影片剧情以多线交错进行，一方面是法国时装协会会长突然暴毙，他的遗孀、儿子和情妇趁机争夺生意经营权，而警方则派员前来调查暴毙案真相；另一方面各地媒体蜂涌前来采访，美国女记者被迫与男记者共租一个房间，结果两人足不出户便完成采访任务；几份时装杂志则采用谍对谍方式引诱时装摄影师跟他们签约。
朱卫茵
回复 :われは心より医者を助け、我が手に託されたる人々の幸のために身を捧げん―― （「ナイチンゲール誓詞」より） 桃子は看護師。時に患者のセクハラに遭い、時に同僚ナースが患者とセックスする姿を目撃しながらも、 日々マジメに仕事に打ち込んでいた。しかしそんな桃子にも人に言えない秘密が一つだけあった。 それは同じ病院で働く医師?二階堂との不倫関係。 決して実ることのない思いに身を焦がしながらも、桃子は彼に求められるがまま、体だけの関係を続けていた。 そんなある日、桃子は出勤途中に交通事故を目撃する。重症を負った大学生?達也を救急車で自らの勤務先へ 搬送したことをきっかけに、彼の担当看護師として初めてのリハビリを受け持つことになった桃子。 優しく献身的な介護の甲斐もあり、達也の体はみるみる回復。 ２人は患者と看護師という関係を超え、徐々に距離を縮めていく。 しかし...
王富华
回复 :丁娟去见男友李良，却发现李良死在屋里。东海市公安局发现伤口有细小的羽毛和茶杯上的指纹，以及笔记本上的字“阿三，我决不放过妮！”等细节。经调查，两个阿三斗与李良有过节，且案发晚上都去过李良家。老陈在林区查案的路上遭袭击后，侦察员钱凯、陈明辉发现这不是一般的刑事案，背景很复杂。老陈逐步查清案子，他的处境也更加危险。最后，老陈终于把真正的凶手汽车司机刘国强缉拿归案，并挖出了策划谋杀的后台——公安局长徐亦斌。
林健辉
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
