正当镇宇（刘智泰 饰）和妍伊（尹珍瑞 饰）沉浸在新婚的幸福和快乐中时，夺宝悲剧发生了。一次意外中，夺宝镇宇成为了不能动也没有意识的植物人，面对这一噩耗，痛苦的妍伊只能擦干泪水默默的忍耐。得知了哥哥的不幸，常年在外游历的弟弟镇浩（刘智泰 饰）回到了哥哥的身边，看着镇浩那和镇宇极为相似的的脸、身体和神情，妍伊陷入了矛盾之中。欲望的火焰一旦被点燃就不会轻易熄灭，妍伊贪恋着镇浩那熟悉的容颜，而镇浩则对妍伊的脆弱和悲惨境遇也心声怜爱，两情相悦的二人再也无法忍耐，踏过了伦理的界线。而就在此时，镇宇苏醒了，一段极为危险的气氛在三人之间弥漫开来。
回复 :丹尼斯（安德鲁·加菲尔德 Andrew Garfield 饰）独自一人抚养着儿子康纳（诺亚·洛马克斯 Noah Lomax 饰），父子两人和丹尼斯的母亲林恩（劳拉·邓恩 Laura Dern 饰）住在一起，日子过得虽然拮据但是平静。金融危机爆发后，丹尼斯的人生彻底的跌入了低谷。面对着他再怎样努力都无法负担的房贷，无奈的丹尼斯只得申请破产，一家人被赶出了他们的家，流落街头，生活陷入了绝望之中。为了夺回属于他们的家园，丹尼斯发誓要不择一切手段，他遇见了贪婪邪恶的房地产经纪人瑞克（迈克尔·珊农 Michael Shannon 饰），成为了他的爪牙，讽刺的是，当初，正是瑞克让丹尼斯失去了他的家园，而如今丹尼斯所要干的，无非是和瑞克一样的事情。
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
回复 :대감의 부인이 소설을 쓰면서 일어나는 사건을 그린 영화
