剧情简介
从声名大噪的模特生涯到悲惨的死亡，日韩这部纪录片以亲朋好友的视角揭示了安娜·妮可·史密斯的一生。
日韩三级A片
从声名大噪的模特生涯到悲惨的死亡，日韩这部纪录片以亲朋好友的视角揭示了安娜·妮可·史密斯的一生。
方逸华
回复 : 导演阿星（张国荣）因为接连的票房失利失业，生活的困顿虽令他觉得前路茫茫，却并没失去抱负，一直在等时机。功夫不负，阿星终又获拍片机会，但他没料到的是，老板只想制作低俗的三级片，只把他当拍片机器，沮丧拒绝，该片监制也是其好友的阿虫（罗家英）耐心开导一番，阿星向现实低头，可是 怀才不遇的委屈情绪仍无法挥去。 拍片过程中，阿星通过与男女主角华叔（徐锦江）梦娇（舒淇）以及摄影师等人的接触，晓得三级片也可以拍得很艺术，扭正拍片态度，又在女友阿May（莫文蔚）及母亲的支持下，立志拍出让人大吃一惊的好片来。
温金龙
回复 :《美人图》说的是朝鲜史上有名的女扮男装天才画家申润福的故事。申润福（金敏善 饰）的父亲将家族的兴旺寄予这个可怜的女孩，隐藏其女儿身，改以男儿身打扮亮相，跟随着当地有的画家金洪道（金英浩 饰）学习，苦学画技，以卖画给地主们维持生计。性格粗野的姜武（金南吉 饰）是市井青铜镜商人，一次偶然中发现了申润福的女人身份，与她相爱，并使润福认识到身为女人如命运般的爱情。但申润福的老师金洪道与徒弟之间也有一种奇妙的感情，他不容许润福背叛自己，千方百计阻止润福和姜武。而名妓雪花（秋瓷炫 饰）则深爱着金洪道。四个人将会走向何处？申润福和姜武能守护住自己的爱情吗？申润福的女子身份会被揭露吗？最终她是否能改变自己的一生，成为朝鲜知名画家？
方丽仪
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
