土耳其（杰森•斯坦森饰）是一位黑市拳击的经理人，丝袜不过他遇到了麻烦，丝袜本该参加比赛的选手被吉普赛人米奇（布拉德•皮特饰）一拳击倒。土耳其不得不选择在黑帮老大布里克（阿兰•福特饰）与吉塞人之间周旋，来获得生机。与此同时，四指弗兰克（本尼西奥•德尔•托罗饰）携带一颗86克拉的钻石来到伦敦，这件赃物引起了各路匪徒的兴趣，其中包括军火商老布（拉德•舍博德兹加饰）、杀手“子弹牙齿”托尼（维尼•琼斯饰）与黑人小混混维尼（罗比•吉饰）。这些心怀不轨的罪犯各自盘算着自己的完美计划，不想造化弄人，惊人的巧合引出一连串幽默的冷笑话。所有的一切都在伦敦的夜晚交织，究竟谁能够从中解脱？就在盖•瑞奇导演的《偷拐抢骗》中揭晓。
回复 :阴阳先生阎阳明经营着一家纸扎店，名为阴阳中间站，店如其名，这里不禁传承着中华纸扎这门最古老的手艺，更是阴阳两届一个传递信息的中间站。第一个故事镜子，讲述了一个女孩爱上了闺蜜的未婚夫从而不择手段，致使闺蜜蒙冤对着镜子自杀，而后发生了一系列恐怖事情……一面镜子可以照出人间百态，每面镜子中都有一个世界，或美好或邪恶，这取决于镜前人的作为。爱美之心人皆有之，可万事万物皆有尺度，有些事一旦过了界限，则会反其道而行之，第二个故事头发讲述的就是一个女孩在理发店接完头发后发生的怪事。
李璇
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
刘钇彤
回复 : 夜生活界的女强人王霞，少女时代为茶楼点心女郎，同事阿祥暗恋之，但霞喜英俊少年，卒为黑社会Alan仔诱惑，堕落火坑，一面做应召女郎，一面与Alan仔双宿双栖。其后霞怀孕，Alan仔竟迫之堕胎，且毒打之，霞决心离开Alan，终识一CID黐线光，乘机要光帮她，光利用私权，毒打Alan，将之打成内伤，霞乃下嫁于光。霞改任妈妈生，培养一舞国红星宝珊，风情万种，不料却塔上了光，二人有了奸情，霞捉奸反被光绑起来毒打虐待，且打伤霞两岁小女儿不悔，霞悲愤之余取剪刀重伤光，被捕……
