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离婚不分手 (2012) 电影
2.0分 在朋友们的眼中，西勒斯特（拉什达·琼斯 Rashida Jones 饰）和杰西（安迪·萨姆伯格 Andy Samberg 饰）是天设地造的一对。两人的爱情从高中一直延续至今，热烈、持久、充满了激情。可是，随着时间的流逝，在这两个人的眼中，对方的身影已经不再如当初那样美好，杰西的玩世不恭和不思进取让西勒斯特无法忍受，而西勒斯特的高高在上和咄咄逼人也时常让杰西觉得很受伤。在两人的面前，似乎只剩下离婚一条道路。 虽不能结为夫妻，可两人之间深厚的感情依然存在，因此两人定下了分手不分居，做不了夫妻做朋友的约定，在同一屋檐下展开了各自新的感情生活。可现实没有想象的那么美好，逐渐的，西勒斯特发现自己依然深爱着杰西，并且这爱意竟愈演愈烈。更让她感到痛苦的是，曾经自以为无比了解的杰西变得越来越陌生起来。
Sin and Illy have a plan on a Greek island they want to get 'clean' on their own. But the intention of the two girls fails already on the way to the airport. Finally Sin realizes she has to go the way out of heroin addiction all alone.
本片用风格化的手法展现了匈牙利三代人的怪诞故事。丑陋的士兵马洛戈瓦尼（Csaba Czene 饰）每日在长官的责骂中进行机械精确的繁琐工作，他那被压抑的生命只能通过炙烤自己身体和偷窥时自渎来缓解，某夜他将猪的尸体看做肥硕的女人，一夜癫狂之后被长官枪杀；大胃王比赛的选手巴拉托尼（Gergely Trócsányi 饰）承担在社会主义国家比赛中为国争光的重任，他呕出的比赛用食品却是国民平日所无福消受的美食；巴拉托尼与一名女子竞吃选手体格消瘦异常的儿子靠制作动物标本为生，儿子不堪照顾肥硕臃肿的父亲，致使巴拉托尼身亡，儿子回到家里，将父亲和自己做成了标本…… 本片获2006年特兰西瓦尼亚国际电影节最佳导演奖等多项褒奖。
一位面目丑陋不堪的老妇生下了一个相貌标致、拥有天使面孔的男婴。然而男婴的姐姐（朱丽娅·奥蒙德Julia Ormond饰）却声称孩子是自己的。处女生子的荒唐前提一旦成立，一连串不可思议的玄虚之事便相继发生，整个世界的秩序将不复存在。她先是宣称男婴为神之附体的圣婴，后是以圣母玛利亚自称，靠圣婴赚取钱财。当姐姐与主教的儿子（拉尔夫·费因斯Ralph Fiennes饰）相恋时，却遭到了圣婴的阻碍，主教的儿子惨死在牛角之下。 姐姐为了报复，杀死了圣婴，闻讯赶来的人们要求严惩这个触犯天条的女人，于是她被判处了死刑，由于当时法律规定，处女是不能处死的，所以教皇命令208名士兵强奸她。姐姐在强暴中死去，人们欢快地将圣婴肢解后分掉，希望可以得到圣婴的庇佑。
In this notorious Nazi propaganda historical costume melodrama, a conniving, ambitious Jewish businessman, Suess Oppenheimer, snares a post as treasurer to the Duke of Wurttemburg by showering the corrupt duke with treasure and promises of even greater riches. As the Jew's schemes grow more elaborate and his actions more brazen, the dukedom nearly erupts into civil war. Persuaded by the Jew, the Duke all but scuttles the constitution and alienates the assembly by lifting the local ban on Jews in Stuttgart. In a final outrage, the Jew rapes a wholesome German girl and tortures her father and fiancee. When the Duke succumbs to a sudden heart attack, the assembly of Elders try the Jew and sentence him to death for having carnal knowledge of a Christian woman. Summary written by Kevin Rayburn
The lines are busy at the telephone helpline. A life coach records an encouraging video while concerned parents consult a child psychologist. A spectrum of cinematic tableaus shows people trying to counteract the increasing loneliness to create intimacy in a detached society.
杰克是一只3岁的黑猩猩，他是某大学研究计画的对象，并学会如何与人类沟通。负责此计画的肯多博士突然去世，杰克竟被狄恩博士卖给医学研究机构，从事生物学实验。实验室里的工友因同情杰克而将他偷偷放走，并送他坐上开往故乡的火车，糊涂的杰克竟然睡过站来到冰天雪地的加拿大。还好杰克遇到友善的听障女孩泰拉和她哥哥史帝夫，杰克在泰拉的教导之下学会溜冰，正巧被球队教练发现而惊为天人，杰克加入了球队，表显优异的他使得球队在国家联盟赛节节胜利，金牌在望。就在关键时刻狄恩却突然出现带走杰克，泰拉、史帝夫及其他球员必须尽快将杰克救回来，赶在时间之内参加冠军赛……
The film tells futurist, architect, and inventor R. Buckminster Fuller's incredible story through two teens hoping to get laid, become punk gods, and survive high school.
The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.
达吕（维果·莫腾森 Viggo Mortensen 饰）是一名在阿尔及利亚出生的法国人，如今，他在一处地处偏远的山区学校里担任着教师的职务。某日，一名警察出现在了达吕的面前，将一名五花大绑的犯人默罕默德（雷达·卡特布 Reda Kateb 饰）交给了达吕，这个男人被控告杀死了自己的堂兄，达吕要将他押往临近的村庄接受审判。 这门苦差事令达吕感到非常的头痛，因为他知道，只要默罕默德抵达了村庄，那么等待着他的就只有死亡，他不愿意做这样一个推手，但警察将默罕默德丢给达吕后就离开了，无奈之下，达吕只得带着默罕默德踏上了旅途。一路上，达吕不仅要提防默罕默德逃跑，还要保护他不受死者的亲属的袭击。
清白2015 (2015) 电影
9.0分 看似是个完美的家庭，不需要工作的妻子有一个努力工作、风趣热情又顾家的丈夫，而丈夫的真正职业——贩毒却让她很不安。丈夫答应妻子不要把工作带到家庭里来，而情况却变得越来越糟，孩子们开始知道父亲真正的工作。妻子决定带着孩子们离开自己的丈夫，而想要离开却没那么容易。她最终开枪打死了丈夫，开始了新的独立自主的生活，用自己的双手去赚干净的钱。
Jonas, a 40 something Parisian, is still desperately in love with his ex-girlfriend Léa. When he knocks on her door to confess his feelings and she turns him down, he ends up at the café downstairs. Inspiration strikes and he sits down to write her a long love letter, dodging everything he was supposed to do that day. What begins as a last attempt to get her back surprisingly turns into a vivid musing on the state of his life. Over the course of a day, helped by a wisecracking bartender and an array of patrons from the neighborhood, Jonas has to face his past relationships, his uncertain future and, most of all, himself.
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