詹雅云
发表于9分钟前回复 :精通化装术、善于模仿各类型人物的聪明人葛亮(姜大卫饰)是一江湖奇人,为人正义,行走江湖时经常行侠仗义,游戏人间!青年镖师曾勇(李修贤饰)、曾敢(王钟饰)兄弟押镖期间遭到山匪劫镖,损失三万大洋,其后曾勇被保安队捕往监狱,屈打成招,控以劫杀罪行。曾敢不忍其兄被冤枉,于是前往找葛亮帮忙,葛亮以不同身份侦查,得悉案件与保安队长罗金英(陈观泰饰)、土匪高野(史仲田饰)和土豪黄雄生(佟林饰)有关,是他们设圈套让曾勇作替死鬼,独吞三万大洋。于是,葛亮使计将罗、高、黄三人绳之于法,还曾氏兄弟一个清白。《七面人》是一部侠义奇情电影,卖点就在主角姜大卫一人分饰多角,他千变万化的造型让人眼界大开。本片由鲍学礼导演,他是江苏人,1936年出生于南京,1949年到台湾,年青时半时半工半读,日间在三极高工上课,晚上在台湾电影制片厂印片间工作,毕业后在台制工作六年,助理摄影...
辰伶
发表于9分钟前回复 :Amra is growing up in the Mongolian steppe between herds of goats and YouTube videos. His hopes and dreams revolve around someday performing onstage in Mongolia's Got Talent. However, the fight against the exploitation by gold mining companies and the campaign for a viable environment soon challenge the boy's eclectic talents.
刘维
发表于7分钟前回复 :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