剧情简介
1937年左右，乌鸦中国大地上政治风云变幻，乌鸦北平更是被日本的铁蹄践踏的千疮百孔。京剧武生袁志勇号称京城第一武生，是京城的红角儿，北平的老百姓都十分喜爱袁志勇的戏。就连日本人也不例外，日本驻北平特派史中野良木和他的女儿中野爱就是其中之一，中野爱在北平化名为付小爱，并常常穿着中国女孩的服装来听袁志勇唱戏，渐渐对袁志勇产生了爱慕之心。
乌鸦2012
1937年左右，乌鸦中国大地上政治风云变幻，乌鸦北平更是被日本的铁蹄践踏的千疮百孔。京剧武生袁志勇号称京城第一武生，是京城的红角儿，北平的老百姓都十分喜爱袁志勇的戏。就连日本人也不例外，日本驻北平特派史中野良木和他的女儿中野爱就是其中之一，中野爱在北平化名为付小爱，并常常穿着中国女孩的服装来听袁志勇唱戏，渐渐对袁志勇产生了爱慕之心。
岳夏
回复 :”靖难之役“之后，燕王朱棣篡权夺位成功，建文帝生死未卜，而建文帝之子朱文奎被旧部杨武救出，并几经辗转朱文奎被文昌寺收留。十年之后，朱文奎在文昌早寺已长成英俊少年，并练成了一身硬功夫，从小聪慧的他更熟读经卷，通晓佛法，深得曾任少林寺住持的大师器重。杨重一直在计划为建文夺回帝位，假意归顺燕王，暗中招兵买马，召集建文帝旧部起事。然后打算把朱文奎从文昌寺带回京城，却被燕王获悉，并下令东石剿杀他们。一路上杨武等人受到一批又一批的东石高手追杀，最后不得不把小皇子送上大佛填充暂避追杀。东厂倾巢而出把大佛寺重重包围，杨武和大佛寺内十八棍僧与锦衣卫展开殊死搏斗……
回复 :英俊青年麦克尔（Walter Slezak 饰）是画家苏莱特的专属模特，以麦克尔为原型，苏莱特创作出了精美的艺术作品，名声大噪，登门求画的人络绎不绝，但苏莱特为了保存和麦克尔的美好回忆拒绝出卖杰作。年轻貌美的女伯爵拜访苏莱特，请求后者为自己画像，麦克尔默默注视着女伯爵，四目交投之下，情意暗生，苏莱特思量之后决定为女伯爵作画，但创作不久因苏莱特无法描画女伯爵的眼睛而陷入停滞，麦克尔提笔代劳，女伯爵美丽的神色跃然画上……麦克尔与女伯爵相爱并逐渐离苏莱特而去，苏莱特承受着年青人的欺骗和背叛，将内心的悲苦呈现在画作上，受孤独煎熬的生命之火渐渐熄灭……本片根据赫曼·邦的同名小说改编，是电影史上最早涉及同性恋题材的作品之一。
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
