剧情简介
亚洲This feature-length documentary is a cinematic biography of a song. Inspired by "The Holy or the Broken," Alan Light's critically acclaimed book, it is a definitive exploration of Leonard Cohen's "Hallelujah."
亚洲自拍视频
亚洲This feature-length documentary is a cinematic biography of a song. Inspired by "The Holy or the Broken," Alan Light's critically acclaimed book, it is a definitive exploration of Leonard Cohen's "Hallelujah."
张惠春
回复 :铁蛋（杰拉尔·德帕缔约）是个大话痨，与人聊天不分时间、场合和对象，也因此他没有朋友，在监狱里一个接一个的换着室友，直到他遇到总也不说话的杀手卢比。铁蛋可以一直对卢比说下去，卢比（让·雷诺）不说话，不生气，脑子里总在策划越狱。尽管卢比的越狱计划天衣无缝，却不想被铁蛋死死的黏住，可也正由于铁蛋的帮忙，两人在混乱中逃了出去。卢比心中还有为女友复仇的计划，然而铁蛋只是想永远和卢比做朋友，开一个餐馆。一个喋喋不休，一个喊着要对方闭嘴。两个人在逃亡的途中，冲突不断，笑料迭出。
陈百强
回复 :Laughing（谢天华 饰）本认是警方的卧底，但政因为一择宗贩毒案件，被警司潘SIR（黄日华 饰）追捕。其实Laughing加入警队之前，本就是个黑帮成员，一直跟随其老大一哥（黄秋生 饰）在道上打拼。一哥对Laughing照顾有加，Laughing视一哥有如亲兄。一哥为了保护自己的地盘及非法生意，竟要求Laughing投考警队，让他可以掌握警方行动。Laughing在警校成绩优异，可惜天意弄人，他根本没机会待在警队，因为反黑警司冼SIR（元彪 饰）被Laughing的黑道气味所吸引，竟指派他做卧底探员。就这样，Laughing竟成了"双重卧底"，一哥也乐得Laughing被送进社团去对付自己的同门座头（吴镇宇 饰）。在这已经复杂的状况下，一件事情令Laughing的处境更复杂，他竟爱上了座头的妹妹Karen（陈法拉 饰）。面对法治、恩义、感情的抉择，Laughing将如何自处？无论选择哪一边，都是一场变节，Laughing最后将投向哪一方？
李双江
回复 :苏利曼和“苏丹电影俱乐部”的另外三名成员决定重振一家旧电影院。他们不仅因为对电影的热爱和对恢复旧电影存量、再次关注苏丹电影历史的强烈渴望而团结在一起，而且因为他们都曾在流放中接受过电影教育。不知疲倦地，他们试图让影院老板站在他们一边，让这个地方重新运作起来，但他们一再发现自己遭到了相当大的阻力。同时，他们坐在一起谈论过去——包括他们作为对立艺术家遭受迫害甚至折磨的经历。他们还朗读流亡和梦想苏丹时写的旧信，在那里艺术和智力思想可以自由。“我们比他们聪明，但不如他们强大，”他们一致总结了他们的处境。正是在这些简洁的时刻，观众才能够感知到友谊，以及在为共同理想而斗争中存在的纽带和意识形态的团结。苏哈伊布·加斯梅尔巴里把苏丹电影的历史放在影片的中心，同时也揭示了一个受到持续危机影响的国家的现状Suliman and three further members of the ‘Sudanese Film Club’ have decided to revive an old cinema. They are united not only by their love of cinema and their passionate desire to restore old film stock and draw attention to Sudanese film history once more, but also by the fact that they have all enjoyed a film education in exile. Tirelessly, they try to get the cinema’s owners on their side and make the place operational again, but repeatedly find themselves up against considerable resistance. In the meantime, they sit together and talk about the past – including their experiences of persecution and even torture as oppositional artists. They also read out old letters written while in exile and dream of a Sudan in which art and intellectual thought can be free. ‘We are smarter than them, but not as strong,’ is how they unanimously summarise their situation. It is in laconic moments such as these that the viewer is able to perceive the friendship, as well as the bond and ideological solidarity that exists in the struggle for common ideals.Suhaib Gasmelbari puts the history of Sudanese cinema at the centre of his film and at the same time sheds light on the current situation in a country shaken by ongoing crises.
