1980年代，日本北京。外贸公司业务员田丹（高飞 饰）因引进设备出现问题，日本到火车站接技术员李非（张晓林 饰）时，意外遇见分别多年的女友苏小梅（陈冲 饰）。面对田丹的惊诧，苏小梅不为所动。李非对进口设备提出独到见解，副处长宋琪（智一桐 饰）对李非的见解不屑一顾，为找到原因，二人开始针对说明书展开运算。田丹再次见到苏小梅，两人亮开心扉，畅谈了分别后各自的生活。父亲田仲华（许还山 饰）发现儿子跟苏小梅的关系，从中作梗，他希望儿子娶副部长的女儿彭芳（屠茹英 饰），志趣的不同让田丹无法和彭芳交流。由于运算条件很差，田丹的运算遇到前所未有的困难，他硬着头皮求父亲疏通关节，父亲趁机提出了自己的要求......
回复 :名列「文艺复兴三杰」之首的米开朗基罗，从小展现对艺术的极高天分，更受到当时最具权势的麦迪奇家族拔擢。不料命运多舛，提拔他的知己罗伦佐竟突然辞世，顿失依靠的他，回到修道院后改学解剖，竟意外开启人像雕塑的崭新境界…。以壁画《创世纪》、《最后的审判》及雕塑《大卫像》奠定了他在艺术史上破天荒的地位。这些强烈的艺术风格，甚至影响数个世纪的艺术家们，迄今仍无人能超越其成就。
太冲
回复 :This film took the top honor at the 1969 Berlin Film Festival. After a series of documentaries, this marks the directorial debut for Zelimir Zilnik. It takes a decidedly anti-Stalinist view in the wake of the 1968 Russian invasion of Czechoslovakia and raises important political questions. He states that although the world has experienced untold wars, there have only been a handful of revolutions with any lasting significance that lead to political change.
回复 :The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief."Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
