剧情简介
珠熙被她的老板智成殴打，影吧亚洲被宇烈发现，影吧亚洲宇烈安慰珠熙，珠熙向宇烈透露了她的过去。而不久，珠熙发现宇烈的女友世芳和老板智成有着不可告人的秘密关系...
性之影吧春暖花开亚洲
珠熙被她的老板智成殴打，影吧亚洲被宇烈发现，影吧亚洲宇烈安慰珠熙，珠熙向宇烈透露了她的过去。而不久，珠熙发现宇烈的女友世芳和老板智成有着不可告人的秘密关系...
回复 :敏珠和智勋是一对情侣，他们打算开始同居生活。然而，智勋的姨妈却反对他们同居，智勋决定与她进行一场较量，前往她的家中找她谈判。当智勋见到了姨妈正淑和敏珠的姐姐敏熙时，她们对智勋的帅气都产生了好感，她们同意了同居，但是禁止在家里进行某些行为。不久后，敏珠因出差而离开，智勋则陷入了这两个女人的困境....
回复 :李国强（王志文 饰）和何利英（江珊 饰）是一对结婚多年的夫妻，两人共同抚养着懂事听话的儿子，家庭生活在一片幸福的氛围之中。何利英刚刚学会开车没多久，一天晚上，天上下着瓢泼大雨，何利英驾车驶在路上，撞到了一名行人，慌乱之中，何利英选择了逃跑。当晚月黑风高，没有人知道这场车祸的发生。之后的日子里，何利英的内心里背负上了沉重的枷锁，她不忍心让自己的家庭走上破碎的道路，却又时时被道德感和愧疚感折磨。车祸现场出现了一个举着牌子寻找目击证人的小女孩，这个小女孩的出现将何利英的精神推向了濒临崩溃的边缘。李国强发现了妻子的异样，他决定挺身而出，和妻子共同背负她所犯下的罪行。
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
