阿顺跟阿万退伍后到一间公司上班，狄仁阿顺是当老板的司机，狄仁阿万则是当公司的杂务！阿顺在老板家偷看老板娘全身脱光光的在让美容师擦乳液时不小心撞到老板家的ㄚ头阿简！之后就追求阿简，阿简后来主动要求阿顺跟她！阿万在公司跑杂时女秘书也对他有好感，一天晚上跑去找阿万喝酒，还跟阿万划酒拳，划输的人就脱一件衣服喔！之后两个人还在公司里干炮喔！有一次阿简偷拿老板娘的补药给阿顺喝，之后还跟阿顺说老板有倒阳的毛病，老板娘不管如何挑逗他，老板就是兴奋不起来！这句话被老板娘偷听到了，老板娘因此怀恨在心，决定要整阿简！老板娘在补药里下了泻药，老板喝进去就猛拉肚子罗，之后被送到医院里洗胃！阿简也在这时因为阿公生病住院了，所以跟老板娘请假回家里！老板娘就趁机勾引阿顺，要他邦自己按摩！就在两个人要时老板忽然回来罗，阿顺吓的赶紧跑掉罗！然后还跑到阿万的女友家里躲风声咧！后来阿简跟她爸爸回...
王传一
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
史逸欣
回复 :桜田通や栗原吾郎ら若手俳優5人がバンド結成、音楽映画「EVEN～君に贈る歌～」
欧中建
回复 :代表葡萄牙参赛奥斯卡的《一千零一夜》二部曲《一千零一夜II：孤独之人》，不同首部曲的天马行空，改以沉稳的叙事反映社会现实，透过小狗「迪克西」的角度，看尽现代人的冷漠与伪善， 富饶趣味地包装社会议题，同时为寂寞带来全新语言。狗儿充满灵性、惊喜的表现，毫无悬念地夺得本届坎城影展「狗狗金棕榈」奖，超级吸睛。
