土木之变，英伦双龙夺位，英伦英宗率旧部夺回皇位。代宗太子在贴身公公保护下逃出皇宫却中了锦衣卫指挥使的暗箭。数年后，代宗太子化名穆川水，变身太监入宫图谋复仇。此时英宗病危，当朝太子与裕王夺嫡之争愈演愈烈。穆川水一路算计百出，除掉裕王与当年的锦衣卫指挥使，助儿时玩伴登上皇位。他也如愿坐上了东厂督主之位，一人之下万人之上，似乎离目标又近了一步。然而他提拔的小太监柳传道，竟然得知其真正身份，不仅另立西厂与他分庭抗礼，且向皇上说出他的前朝皇子真身。一时宫中波诡云谲，这皇城之中究竟谁能稳坐江山？
江欣慈
回复 :一个年轻的考古学家租用了哈姆森的船去打捞一份历史文件，该文件在二战期间坠毁在西西里岛海岸的轰炸机残骸中·文件中记载了关于传说中的宝藏隆美尔的金子所在地·但是她的同伴却原来是个骗子、杀人凶手，他想劫持这艘船携财宝逃走·哈姆森和考古学家踏上了漫漫的追踪之路，终于将罪犯绳之于法。@https://www.zhuijukan.com/juqing/longmeierdejinzi/
张睿恩
回复 :查理·汉纳姆将与杰克·奥康奈尔携手出演，麦克思·温克勒(《神烦警探》)自编自导新片[丛林之地](Jungleland，暂译)。影片围绕斯坦利、莱恩兄弟展开，斯坦利管理着弟弟莱恩的拳击事业，却愚蠢地对莱恩的每场比赛下赌。伴随斯坦利深陷赌债之中，这对兄弟将如何修复彼此的关系？影片将于8月起在波士顿地区拍摄六周。
蔡秋凤
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
