建筑师John Baxter（唐纳德·萨瑟兰 Donald Sutherland 饰）与其妻子Laura（朱莉·克里斯蒂 Julie Christie 饰）育有一男一女。有一天，澳门女儿莫名其妙地溺水身亡。Laura沉浸在悲痛中。John因为工作原因，澳门带着Laura来到威尼斯，进行一个教堂的修缮工作。在那里，Laura认识了两个老妇人，里面有一个盲人，据说能通灵，能看见Baxter夫妇的女儿。Laura晕了过去，醒来之后却摆脱了女儿死亡的阴影。通灵的老妇人告诉Laura，如果John继续留在威尼斯的话，会有危险。Laura劝John赶紧离开，John却不相信所谓通灵，继续留在威尼斯进行工作。果不其然，John在工作中发生了意外，而他们在英国读书的儿子病倒了。Laura急忙搭飞机回国，而John却在威尼斯发现Laura跟那两个老妇人在一起。发生在威尼斯的这个故事变得越来越扑朔迷离......本片在Time Out 2011“史上最佳100部英国电影”中排名第一。
回复 :十九世纪中叶，吸血鬼不断骚扰欧洲居民，农场和村庄饱受侵袭。应教授及其追随者的派遣，年轻的约那坦作为密探前往坐落于海边的偏僻城堡——吸血鬼伯爵的栖身之处，以便为准备向其发送进攻的农民和学生摸清路线。此外，城堡里还有众多被吸血鬼抓获且供给堪忧的俘虏。但伯爵早已听到风声并等待 着约那坦的到来。约那坦必须历经血的洗礼，直到残暴的反抗运动重新肃清一切。（小易甫字幕组）
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
回复 :一辆囚车上的黑人卡尔林与一个白人杰克逊，被铁链锁在一起。在逃亡过程中，虽然白人杰克逊瞧不起黑人，处处为难卡尔林，但卡尔林不计前嫌帮助伙伴逃跑，且恢复了已经丧失的优良品德和对他人的爱。这是一部反对种族歧视的优秀作品，在第31届（1958）奥斯卡评选中获得最佳摄影金像奖和最佳创作剧本金像奖，在1958年第8届西柏林国际电影节上获男演员奖。
