明朝晚年，亚洲影朝政腐败，亚洲影复社成员冒辟疆（吴冠易饰）等人议论时政，正义敢言，成为一时青年才俊。董小宛（高晓蝶饰）虽然风尘女子，但是胸怀天下，对于冒辟疆等有志之士更是仰慕不已。一日，冒辟疆为逃避官府追捕，逃入妓院，偶然与董小宛见面，虽然匆匆离别别，但是给小宛留下深刻印象。不久两人再次见面，两情相悦，私定终身。冒辟疆承诺自京城回来后便迎娶董小宛。明朝皇室子弟朱统锐（徐锦江饰），仗着自己的家世背景、无恶不作，横行霸道，意欲强行霸占董小宛，被小宛言辞拒绝，从此怀恨在心。而富家子弟窦霍（林伟饰）不学无术，荒淫无耻，也意欲强行向董小宛求欢，也是遭到拒绝。窦霍竟然设计迷奸了董小宛，令董小宛痛不欲生。而此时回到南京的冒辟疆也因为被指责危害朝政而被捕入狱，落入朱锐统手中，将被处死。为了挽救冒辟疆，董小宛决心入狱，牺牲自己，救出冒辟疆…
洪荣宏
回复 :《旺角马场》是向立行执导的动作片。讲述了一增群由外地到香港为赚快钱驾而卖淫的女子，在怕被警方捉到及恐怕没有足够的收入还给予卖淫集团的情况下，于是在香港的红灯区旺角的宾馆开始她们的皮肉生涯的故事。
周国贤
回复 :昭和二十八年（1953），战后的日本山河凋敝，百业待兴。佐贺煤矿区的底层百姓生活困苦，安本家的顶梁柱父亲不幸去世，留下两对儿女喜一（长门裕之 饰）、良子（松尾嘉代 饰）、高一（冲村武 饰）、末子（前田晓子 饰）无人照看。20岁的喜一外出做工，但稀薄的工资不足以承担一家人的日常开销。为了生存，喜一将高一和末子托付给好心的边见叔叔（殿山泰司 饰）抚养，自己则和妹妹良子前往长崎打工。四兄妹就此分离，而煤矿上的生活也越来越艰难……本片根据10岁女童安本末子的日记改编，并荣获1960年蓝丝带最佳男演员和最佳男配角奖。
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
