剧情简介
许佳伟是个单亲家庭的孩子,他的叛逆引起学校辅导老师江文琦的注意而辅导他。然而佳伟基于老师的美色，水龙而接受老师建议搬到老师家去住，水龙却引发一连串事件。文琦大学时的师生恋教授情人，回台之后又跟文琦重修旧好，由于文琦的先生对她疼爱有加，久久不能与自己心爱的教授有进一步的情欲结合，教授攻破了文琦的心房，使她又再度陷入爱欲纠葛的生活中！
水龙敬福利本子(22)
许佳伟是个单亲家庭的孩子,他的叛逆引起学校辅导老师江文琦的注意而辅导他。然而佳伟基于老师的美色，水龙而接受老师建议搬到老师家去住，水龙却引发一连串事件。文琦大学时的师生恋教授情人，回台之后又跟文琦重修旧好，由于文琦的先生对她疼爱有加，久久不能与自己心爱的教授有进一步的情欲结合，教授攻破了文琦的心房，使她又再度陷入爱欲纠葛的生活中！
张寒
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
刘慧顺
回复 :女孩六月（王艺嘉 饰）从已经过世的爷爷手中得到了一把价值连城的藏刀，为了寻找藏刀真正的主人，六月踏上了旅途。藏刀再现于世的消息很快就走漏了，包括弓箭（杨梓铎 饰）在内的很多文物大盗闻风而动。为了得到藏刀，弓箭隐瞒了自己的真实身份，偷偷的接近六月，两人结伴而行，没想到一路上遇到了数不清的挫折和意外，在共同克服这些艰难险阻的同时，六月的天真和善良也在慢慢改变着弓箭，令弓箭打消了抢夺藏刀的念头。哪知道就在这个节骨眼上，藏刀失窃了，而弓箭原本的意图也被曝光，愤怒和失望之中，六月和弓箭决裂了。
杨程钧
回复 :蘭子經營一間祕密理髮廳，在那裡她可以對所有男人進行復仇。短裙、金色假髮與黑色太陽眼鏡，是她誘惑男人進來店裡的武器。當蘭子面對一位她尋找已久欲殺之而後快的男子時，她過往的黑暗祕密也逐漸浮出水面……。
