剧情简介
阿黛尔·艾克萨勒霍布洛斯将主演伊曼努尔·马雷执导的长片处女作[活在当下](Carpe Diem，肉体暂译)。26岁的卡桑德拉(艾克萨勒霍布洛斯饰)是一家廉价航空公司工作的空姐。每次飞行，肉体她都只住一天，飞行后都会参加聚会，并不关心明天的到来。她的Tinder简介也正是“活在当下”。
肉体证据
阿黛尔·艾克萨勒霍布洛斯将主演伊曼努尔·马雷执导的长片处女作[活在当下](Carpe Diem，肉体暂译)。26岁的卡桑德拉(艾克萨勒霍布洛斯饰)是一家廉价航空公司工作的空姐。每次飞行，肉体她都只住一天，飞行后都会参加聚会，并不关心明天的到来。她的Tinder简介也正是“活在当下”。
王袁
回复 :1991年戛納電影節導演雙週單元。作為“大正三部曲”的壓軸之作，本片充滿了肉 欲 色情與荒誕的色彩，講述的是一個鬼故事，圍繞著日本著名畫家兼詩人竹久夢二 (1884-1934)這個角色以及他的作品。角色被導演想象為一名由前搖滾明星澤田研二扮演的沉迷白日夢的花花公子，他終日為尋覓女色及死亡恐懼所困。他先後愛上了許 多女子，卻無一被他俘虜芳心。同時，他還不斷與同行對手過招，卻無法戰勝他們。為了向鈴木清順致敬，香港著名導演王家衛在《花樣年華》中採用了梅林茂的電影配樂，最早則來自該片《夢二》。
樱桃帮
回复 :清末新疆地区，侠客许天雄从金匪手中救下遭到金行老板巴占贵暗算的淘金王。身受重伤的淘金王告诉许天雄一定要找到他发现的秘密金洞，用金子从巴占贵手里赎出女儿金草。但奄奄一息的淘金王还未能说出金洞地点，便死去，许天雄拿着他留下的鹿皮荷包，开始努力寻找金草的下落。许天雄在金城遇到与淘金王生死共命的关山、王保子等人，拿出淘金王的遗物，向他们道出了淘金王惨死的真相，众金客悲愤交加。许天雄被金客子们推为新的“淘金王”，带领大家一起寻找金洞。而奸诈的巴占贵也觊觎着秘密金洞，监视他们的行动。命运悲惨的小露珠被金客王保子买来做“临时妻”，但在与淘金人的共同生活，渐渐寻到的幸福快乐，后她为救助大家牺牲了自己。阴险的巴占贵为独占金洞，诱使金草寻找金洞。正当巴占贵的心腹要杀她灭口时，许天雄出现了。淘金人终于寻找到了黄金，但幸福的生活却没能到来……
回复 :Due to some common interests between German and Russian aristocracy ( the Russians even had aristocrats in their past not to mention they had an Empress called Catherine the Great, as great as this German count's heiresses… ), it is not strange that this Teutonic count has understood and even enjoyed Herr S. M. Eisenstein's "Staroye I Novoye".It is not very usual that for the aristocracy to enjoy Bolshevist films full of proletarian demands that put private property at risk or as it happens in this case, a film about the Communist Party's policy on the subject of the collectivization of the Soviet agriculture. Normally this would be perfect gibberish for this German count, but thanks to Herr Eisenstein 's greatness and directorial talent, the hardships of the heroine of the film, Dame Marfa ( Dame Marfa Lapkina ) breached even the thick aristocratic Schloss walls.And that's one of the first remarkable aspects of this oeuvre; in spite of the political subject of the film, the powerful images and lyricism ( astonishing and beautiful shot compositions ), especially during the first part of the movie, preserve the artistic merits entirely while serving a propaganda purpose. The second remarkable aspect of the film is the dichotomy between the old and new, the fight to improve the lot of Dame Marfa and her countrymen. There are many discussions because it is not easy even in Russia to change ancient and conservative customs. There are superb metaphors and social criticism ( illiteracy, bureaucracy, religiosity ) which perfectly fit the film, and last but not least, "Staroye I Novoye", is a kind of archaic documentary about ancient customs established deeply in old Russia, those ones that our heroine must fight against. And there is also a lot about agriculture ( very enlightening for this German count), especially about harvesting and how to fatten Russian cows or pigs ( literally, no pun here… ).Herr Eisenstein had to bear during the last era of his film career, unbelievable censorship and mutilation of his work, as happens with "Staroye I Novoye". The film was reedited and Eisenstein accused of sympathizing with Trostky's policies but fortunately the film was restored and showed by the German-frenchified t.v. channel "ARTE", natürlich!, including an evocative music score by Herr Taras Bujewski, that fits superbly Herr Eisenstein primal artistic interests.And now, if you'll allow me, I must temporarily take my leave because this German Count must buy a tractor for one of his Teutonic heiress.
