郑惠清（杨千嬅 饰）是一名专职导游，污视她的丈夫邱健章（曾志伟 饰）是一名开诊所的医师，污视夫妻两人貌合神离，更出现了第三者（蔡洁 饰）。惠清弟弟郑伟滔（古天乐 饰）是著名的补习老师，妻子恩恩（梁咏琪 饰）是一个事业遇到瓶颈的模特，他们的孩子“小猪”虽然听话乖巧，但是相貌奇丑跟 夫妇二人完全不同，这令伟滔十分郁闷。老父亲郑东（吴孟达 饰）在妻子过世后与夜总会妈妈桑TA姐（吴家丽 饰）相恋，这令儿子伟滔冷眼相待。父子关系恶劣之余姐姐惠清更有解不开的心结，一家人的关系变得疏远。一次鲸鱼搁浅事件终于令一家人能够共同坦然面对生活的困境。
吕继宏
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
赵美彤
回复 :互不相識的四位男女，受到仲介的委託暗中調查事件。原本以為只是個簡單的任務，卻遭到某人的背叛而深陷危機。被追殺的四人，躲藏在鄉下一間簡陋的小屋中，在揪出叛徒的同時也逐漸陷入懷疑與猜忌，甚至出現企圖綁架管理人女兒等不可理喻的行動……
龙喆一
回复 :万历年间，天下太平。早年倭寇横行，幸得戚继光和俞大猷两位将军平定，终于换得今日的内外祥和。此时武林由四大家族坐镇，任何人试图开宗立派须经四大门派同意方可。某天，城内刀光四起，两名手持倭刀的神秘之人令武林大乱阵脚。当年戚继光从倭刀的持法中悟出玄机，因此对倭刀进行改良，以彼之道还之彼身，令倭寇闻风丧胆。随着戚继光去世和天下安定，戚家倭刀渐渐失传，中原武林也斥之为邪道不予承认。这二人正是戚家军营的高手，他们挑战四大门派，只望为戚家倭刀正名。而武林各派也干脆将他们当作倭寇予以围捕，连归隐山中多年的霜叶城第一高手裘冬月（于承惠 饰）也下山擒贼……
