剧情简介
狄仁杰官拜宰相，新觉有青天之名，新觉不少冤狱苦主都来跪拜恳求，请宰相为他们伸冤翻案。狄仁杰也尽心竭力查，以还苦主一个公道。京城接二连三发生神秘疑案，狄仁杰百思不得其解，原来这个案件背后都由武则天的侄子武承嗣主使，而他的目标更直指太子之位，实行要把李家的唐氏天下，落入武氏手中。狄仁杰面对着这些盘根错节的疑案，应如何落幕？又如何替苦主洗雪冤情？
新觉电影院理论
狄仁杰官拜宰相，新觉有青天之名，新觉不少冤狱苦主都来跪拜恳求，请宰相为他们伸冤翻案。狄仁杰也尽心竭力查，以还苦主一个公道。京城接二连三发生神秘疑案，狄仁杰百思不得其解，原来这个案件背后都由武则天的侄子武承嗣主使，而他的目标更直指太子之位，实行要把李家的唐氏天下，落入武氏手中。狄仁杰面对着这些盘根错节的疑案，应如何落幕？又如何替苦主洗雪冤情？
回复 :十八年前，年少的招仔（邵展鹏 饰）与好友洪仔（刘颂鹏 饰）因玩碟仙惹祸，令招仔父母惨死，幸得法师尹月平（李成昌 饰）相救，幸免于难，招仔决心跟随月平成为驱鬼法师。一次追查凶宅灵异事件，招仔（洪永城 饰）重遇洪仔（郑俊弘 饰），原来当日悲剧令洪仔活在碟仙鬼的阴霾下；另一边厢，拍摄灵探节目的网台主播小美（傅嘉莉 饰）在一间废置学校，寻回当日召碟仙的青花瓷碟，而身陷险境。招仔赶至，能否救回小美、并将恶鬼杀死，大仇得报？
回复 :Stine and Teit, your average urban middle-class artists and intellectuals, leave Copenhagen for the wilds of neighbouring Sweden’s forest. Soon, they find out that something is strange there – most disturbingly – when their son Nemo suddenly thinks his mother isn’t really his mother anymore. It becomes clear once Stine and Teit discover that they have neighbours who look exactly like them – mirror images made flesh and blood.The subject of reflections and doubles is introduced in the film’s first shot: a view of a lake landscape turned 90° so that the water’s surface runs vertically through the image’s centre. Only once the shot gets tilted is it revealed which side mirrors which. Later, a mother and child are reflected in a glass door.However, this is not your doppelganger thriller of the gothic variety. Note the title: in physics, superposition means (per Merriam-Webster) "the combination of two distinct physical phenomena of the same type (such as spin or wavelength) so that they coexist as part of the same event". This is more a metaphysical meditation towards the realisation that none of us is ever alone, but also never unique.
回复 :The workers of a self-managed tea factory decide to go against the grain and play by their own rules. The problem is, how can you plan, work and survive in a world driven by ruthless competition? One day at a time, for instance. In a world ruled by profit and dominated by the exploitation of the weaker ones, the film literally offers an alternative set of ways about how to think our future and the means and tools to work for it. It is not an easy job but, as Taste of Hope carefully and precisely shows, there is still a lot that can be done if we change our relationship to production and labor. Instead of making grand gestures or political statements, the filmmaker works with the camera and with a thoughtful editing in order to understand how to weave together new possibilities of communal existence. The result is a superbly crafted observational exercise. A little manual of self-defense and resistance in the face of a neoliberalism that wishes for workers to keep their heads down. A taste of hope indeed.
