喜欢捣鼓新鲜玩意的刘京伦（夏雨 饰）是丰泰照相馆的伙计，日韩偶然一次机会认识了来北京放影戏的英国人雷门，日韩银幕上的会动的影像使让这个年轻人着了迷，于是他便背着掌柜和亲人跟着雷门一起拍影戏放影戏。影戏的放映抢了伶界大王“谭贝勒”的热闹，不过他依然对这种洋人的玩意嗤之以鼻。一次进宫给慈禧太后祝寿时放映机意外爆炸，雷门因此被赶出中国，刘京伦心灰意冷之时只能重回丰泰照相馆当伙计。然而雷门从英国寄来的一些胶片，胶片里记录着他们当初在街头巷尾拍摄的北京城日常生活，刘京伦对于影戏的热情又重新被燃起。后来，便有了中国的第一部电影《定军山》。 影片取材于真实历史事件，讲述了中国电影诞生的历史。此片在第三十七届台湾金马影展上获得最佳改编剧本奖。
刘芳
回复 :勇桑（蔡振南 饰）是建国市场的老大，英明神武德高望重的他深受手下小弟的敬重和爱戴，市场里大大小小的事务均由勇桑主持。清枫（孙鹏 饰）是勇桑最信赖的手下，虽然并未挑明，但大家都知道，清枫将在勇桑金盆洗手之后接替他的位置。因为杀人罪入狱三年的阿雄（黄鸿升 饰）出狱后回到了勇桑的身边，实际上他并未犯罪，而是替清枫顶罪。勇桑十分看重阿雄的能力，甚至决定将建国市场交给他管理，可是阿雄已心生退意，他不愿再重蹈覆辙，只想做一个干干净净的人，过宁静平安的生活。麦可（王阳明 饰）从国外深造归来，一心想要改变市场里奉行了多年的角头制度，他将第一个改革的目标放在了勇桑的身上。
周慧敏
回复 :作为个著名神偷的儿子，Woo-jin对于一个名为StealGame的行动很感兴趣。其实这个行动是指偷取一笔十亿韩币的政府巨款，不过这笔巨款却由警方保管，并且配备了最先进的保安系统。Woo-jin也知道这次行动有一定难度，于是决定与另一名神偷Yooh-ah联手偷取巨款。在Woo-jin计划这次行动的同时，这笔巨款也吸引了以Bong-chang为首的一帮人。另一方面，警方设计的机关也十分精细，其中的一个需要使用“双刀”的瞳孔才能开启，于是两帮人行绑架“双刀”的行动开始了……
严泰京
回复 :The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief."Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
