阿华（陈雅伦 饰）和阿芝（陈月蓉 饰）是一对同性恋情侣，美国两人之间的感情十分的要好。表面上看来，美国阿华是影视公司的总裁，而阿芝则是她手下的女艺人，因为两个女孩都生的非常的美丽，因此身边的追求者可谓是门庭若市，然而两个女孩对追求者们都报以拒千里之外的态度，这让不知道其中真相的旁观者们百思而不得其解。随着时间的流逝，阿芝想要一个孩子的愿望越来越强烈起来，阿芝决定找同公司的导演王仁宇（陶大宇 饰）借种，虽然阿华并不赞成阿芝的决定，但因为她实在是太爱阿芝的，于是勉强答应了。哪知道这一个决定竟然引爆了一连串的意外炸弹。
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
松隆子
回复 :一个路边强盗不情愿地同意成为一个旅游赌徒/骗子的肌肉。为了从叛国军阀那里偷东西，他们与那些希望用财富来资助革命的叛军战士打交道。@www.molikan.com
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。
