军功卓著的海军副舰长鲁斯特中校（阿克谢·库玛尔饰）在执行为期半年的出海任务，夏日临近尾声时按照司令部的指示提前返回孟买，夏日惊讶地发现他那美丽绝伦的妻子辛西娅（伊莱亚娜·狄克鲁兹饰）竟然与好友维克拉姆（阿然·巴杰瓦饰）有染，怒火中烧的鲁斯特匆匆离家，回到军舰领取了一支手枪，来到维克拉姆家，随着三声枪响，维克拉姆倒在血泊之中。在检察官罗伯、维克拉姆的妹妹普瑞缇的眼中，本案证据确凿，已成铁案；在媒体人眼中，本案是炒作宝库，赚钱良机；在民众眼中，鲁斯特事出有因，维克拉姆死有余辜。在庭辩的唇枪舌剑中，无人料到其后竟然藏有涉及国家安全的重大内幕……
回复 :一个受尽白眼的街头混混（陈创 饰），一个遭到排挤的转校生（郭可轩 饰），孤独失意的两人，在一系列意外中，成为了彼此唯一的朋友。然而生活给了他们不同的难题，当夏天结束的时候，他们的友情似乎也走到了尽头……
回复 :故事发生在1860年的巴黎，杜弗先生（安德烈·加布里埃洛 André Gabriello 饰）带着妻子（雅内·马尔肯 Jane Marken 饰）、女儿昂利艾特（西尔维娅·巴塔耶 Sylvia Bataille 饰），以及在店里帮忙的小伙计安纳道尔（Paul Temps 饰）一起前往乡间度假，他们的目的地是布兰叔叔（让·雷诺阿 Jean Renoir 饰）经营的小旅店。乡间的景色十分的怡人，气温也恰到好处，吃过晚饭后，杜弗先生带着安纳道尔去钓鱼了，亨利（Georges D'Arnoux 饰）和赫多尔夫则陪着杜弗太太以及昂利艾特去湖上划船。哪知道杜弗夫人和赫多尔夫之间竟然碰撞出了激情的火花，而昂利艾特也难敌亨利的热烈攻势，顺势倒在了他的臂弯中。
李韦
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
