平凡的大三学生淳平（王辰昊 饰），从前梦想是成为一名导演。有一天，从前他在天台邂逅了一位穿草莓图案内裤的少女，对其夕阳下的身影一见钟情，但却不知少女的真实面貌和身份。在身边好友的推断下，淳平认为这草莓图案内裤的主人应该就是学校的风云人物西野（敦婧怡 饰）。在这过程中，淳平又先后认识了性格各异的东凌（任祉妍 饰）、北月（郭雪萌 饰）和南宫（臧雨丝 饰）。而谁是草莓内裤的主人则越来越让淳平分不清。热爱读书的东凌写了一部名为《荷尔蒙》的小说，淳平决定在大学的最后一个暑假把其用DV记录下来。在这个夏天，淳平与这四位女孩度过了最温柔最缠绵也最纠结的夏天，最终，淳平能否实现其梦想，而东南西北四个方向四个女孩，淳平选择的道路又是哪条？本片改编自河下水希创作的同名漫画《草莓百分百》，是青年导演张内咸自《待业青年》后的第二部作品。
蒋大为
回复 :In a small village, Leo, 17 years-old, has a strong taste for make-up. His big brother, Jules, who fears to be laughed at, stands against this passion. On the night of the open stage, Leo shows up in full drag...
岸谷五朗
回复 :基希洛夫斯基的早期短片。刻画一对年青男女在电车上的偶遇。
车太贤
回复 :Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
