《上帝深爱鱼子酱》讲述了伊奥安尼斯·瓦尔瓦基斯的故事，春暖他从一名身份卑微的希腊海盗变成富可敌国的国际鱼子酱大亨，春暖而这中间少不了俄国的凯瑟琳大帝的功劳。然而，权利与财富并没能让他满足，过分膨胀的野心只能带来无尽的痛苦。最终瓦尔瓦基斯学会了放弃，学会了给予，用爱的名义，他把自己的财富无私地奉献给了祖国希腊的解放事业。影片根据十九世纪的真实历史事件改编，跟随着瓦尔瓦基斯的足迹，从普萨拉(Psara)的希腊岛屿到凯瑟琳大帝的宫殿，再回到希腊，一个被内战蹂躏、试图摆脱奥托曼帝国统治的国度。
回复 :西门庆（杨群 饰）贪婪残暴的个性人尽皆知，尽管家中如花美眷成群，但他依旧安奈不住外出寻花问柳的冲动。一次偶然中，西门庆遇见了名为潘金莲（胡锦 饰）的女子，她的美艳和妖媚瞬间就将西门庆所吸引，他在内心暗下决定，一定要将这位绝世美人“收入麾下”。在西门庆的怂恿之下，潘金莲杀害了老实忠恳的丈夫，最终嫁入了西门庆的府中。女人多的地方是非自然就多，西门庆府中表面看来风和日丽，但几位夫人为了争宠各自使出了千方百计。之后，西门庆又看上了他人之妻李瓶儿（恬妮 饰），他故技重施人财并获，一时之间好不得意，却不知终有一天，他会栽在自己的手上。
韩磊
回复 :影片根据法国的一个真故事改编，1982年7月的一天，男主得知了女儿的死讯。他的女儿只有14岁了，在去世之前在德国和妈妈、继父一起度假。不过很快，她的死亡状况出现了疑点。生父为了女儿的真实死因跟法国法院和德国检察院纠缠了30年，但德国一直不肯引渡女儿的继父到法国进行审判，最后还是生父把他绑架到法国，才得以审判。
万茜
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
