上集的末尾，惊魂雷洛（刘德华 饰）遇上了阿霞（邱淑贞 饰），惊魂并见到自己的儿子雷用贤，原来当年阿霞被亲戚带到了东莞，逃过了那场大火，当时已有身孕。雷诺自觉愧对他们母子，和妻子白月嫦（张敏 饰）商量后，准备纳阿霞为妾，谁知此时，港英政府宣布废除大清律例，执行一夫一妻制，阿霞无奈 之下，带着儿子远走他乡。十多年之后，一家人再次重逢。此时的雷洛荣升总华探长，经历了偏门百花齐放的六十年代，累积了巨额财富，成为当时社会最叱诧风云的人物，不过潜在的危险也渐渐袭来；阿霞一人在海外辛苦，供儿子念书，身染重病；儿子雷用贤（郭富城 饰）大学毕业，是港英政府筹建廉政公署而招揽的人才，对父亲的所作所为深恶痛绝。阿霞病危，雷洛带伤到医院探望，雷洛的仇家也追杀到了医院，儿子雷用贤看见父亲陷入险境，心中也展开了激烈的天人交战……
回复 :小梨花二人转艺术团接到匿名邀请，来到二龙湖村演出。一路上团里的名角一声雷（柴宝玉 饰）和六岁红（闫晶贻 饰）练习唱段时的腻歪劲，让六德子（张浩 饰）很是吃醋，甚至被安排独自住在土房。不料自打六德子住进土房，怪事接二连三的发生，几番打听房子主人蒋老头不久前刚刚惨死，一时间人心惶惶......
杨沐
回复 :北方某小山村，背包客卢晓辉骑车与一辆摩托车相撞，但所幸并无大碍。他被摩托车车主带回家中养伤，但车主的妻子对来客并不是那么欢迎。卢晓辉与女主人尴尬相处，毫无交流。但渐渐地，卢晓辉发现了女主人与丈夫之间婚姻的罅隙，他们的关系并不像看起来那么和谐。与此同时，女主人也在悄悄观察着从遥远城市跋涉而来的卢晓辉，她对他产生了莫名的好奇。终于，他们有了一次正面的交流，原来各自都有着不为外人道的精神困境。短暂的相处之后，卢晓辉再次踏上了旅程，而女主人重又恢复了平淡庸常的乡村生活。《不合理蛙》入围（2016）第一届柏林华语电影节。
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
