两年前，异度青年漫画家恋上美丽女孩黄小琦（徐海鹏 饰）。在小琦人生受挫之际，异度他创作《西游记》的漫画，每天发到女孩的邮箱中鼓励她。可是一场车祸让漫画家陷入昏迷，漫画作品中断，而被他创作出来的唐僧师徒四人则意外来到了现实世界，在这里唐僧（葛畅 饰）、孙悟空（周雨冥 饰）、猪八戒（武鹏 饰）、沙僧（常和 饰）全部失去法术，变成最普通的人。他们干着最底层的工作，时不时还要遭到仇家暴揍，不知何时才能返回属于自己的世界…… 本片为中国电影集团与优酷网联合出品的微电影系列《十一度青春》中的一部。
回复 :床上功夫是中國功夫中最鮮為人知的一門盡學，其中吹、騎、摸、啜、插的各式套路，普通女子學上一招半式也受用一生，假如由樣靚身材正的掌門親身赤裸表演，威力當然不一樣。掌門的36吋巨乳加上床上功夫，必定能使床上功夫發揚光大....
斯琴格日乐
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
许秋怡
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