夏安（西恩·潘 Sean Penn 饰）是一名退休的摇滚乐手，麻豆富足和闲适的生活让他逐渐失去了往日的精神和锐气。父亲的病危让夏安来到了纽约，麻豆虽然没有见到父亲最后一面，但夏安终于找到了未来的目标。原来，夏安的父亲曾经在奥斯维辛集中营中受过虐待，这一段历史一直折磨着劫后余生的老人，而当年的罪魁祸首阿洛伊斯（Heinz Lieven 饰），如今正在美国的某处过着无忧无虑的生活。必须要找到这个人面兽心的恶魔，这是夏安心中唯一的信念，带着这样的信念，夏安踏上了复仇的旅程。一路上，夏安遇到了许多人，许多事，正是这些人和事逐渐改变了夏安复仇的念头。渐渐的，对于这次旅行的目的，夏安开始迷惘起来。
回复 :根据多个真实矿工场爆炸事件改编，讲述位于阿帕拉契山脉中地下两英里的矿工场，被困的九位矿工仅有一小时含氧量的氧气瓶，他们该如何逃出生天？
回复 :电脑公司经理孙志辉（任达华 饰）白天是一名颇具职业素质的体面白领，然而在夜晚，他却是一名疯狂迷恋电视台女主播黄洁仪（翁虹 饰）的偷窥狂。孙志辉居住在黄洁仪公寓的对面，日日窥视后者的一举一动，更在自己家中大玩角色扮演的游戏，幻想自己和黄洁仪是亲密无间的甜蜜情侣，并不惜殴打对黄洁仪不敬的小流氓。在一次俱乐部活动中，孙志辉终于与黄洁仪及男友查理（王敏德 饰）见面，孙志辉妒火中烧，举止失态，事后更打给黄洁仪骚扰电话并潜入黄家中，黄洁仪委托孙志辉在家中安装保安系统，但并不能阻止孙变本加厉的骚扰，这段都市畸情开始向失控的地步发展……
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
