剧情简介
欧产讲述了一个善良的出租车司机在意外撞人之后被迫踏上“黑色旅程”的故事。
欧产日产中产精品
欧产讲述了一个善良的出租车司机在意外撞人之后被迫踏上“黑色旅程”的故事。
黎沸挥
回复 :大华戏院名角沈玉芝未婚却有个儿子，这个秘密被另一个名角小飞燕周楚楚告到了戏院老板丁远山那里。丁远山给沈玉芝下了死命令：要么把儿子送到孤儿院，要么马上解除合约离开戏院。就在沈玉芝收拾东西准备离开戏院时，傲慢的周楚楚又来嘲笑她，被激怒的沈玉芝将周楚楚推倒在地，周楚楚头部磕到桌角上血流不止，当场昏迷过去。沈玉芝见自己闯下大祸，吓得赶紧逃离了化妆室，慌乱中落下了自己的胭脂盒。沈玉芝带着儿子小虎准备离开海城，在火车站却被老板丁远山拦下来。原来周楚楚意外身亡，丁远山只能请求沈玉芝继续在戏院唱戏。沈玉芝怕自己这个时候拒绝丁远山，会引起别人的怀疑，只好答应留下来继续演戏。负责侦破周楚楚案件的青年警察叶藏是沈玉芝往日的恋人，八年前一场变故让叶家家破人亡，叶藏悄无声息地离开了海城和沈玉芝。现在，叶藏的身份是海城新任刑侦队队长。戏院人员刘丽春有意无意地在沈玉芝面前提起自己曾经捡到一个胭脂盒。沈玉芝心中一惊，她当然明白刘丽春的意思。自此，刘丽春开始了疯狂的勒索。倍受折磨的沈玉芝决定悄悄偷回胭脂盒，因此，玉芝找到好友方瑜商量，决定一起到刘春丽家偷回胭脂盒，为了阻止前来调查的叶藏，玉芝与叶藏谈起昔日往事；与此同时，方瑜才发现刘丽春已经死去，胸口上赫然插着一把匕首！两人魂飞魄散仓皇逃离。但屏风后的一双脚却让人疑窦暗生。几天后，叶藏在刘家搜查时发现了一封勒索信和一个胭脂盒，这个胭脂盒便是沈玉芝的。叶藏下达逮捕令，却被玉芝抢先一步逃走。叶藏为了让凶手浮出水面，故意设计逮捕玉芝，不明真相的玉芝伤心不已，而好友方瑜也气愤难当，告知小虎便是叶藏与玉芝的儿子。到此时，仿佛一切真相都已大白。但是却暗藏真相。那么，这个圈套的幕后凶手究竟是谁？连环杀人的背后到底隐藏着什么惊天秘密？沈玉芝是否清白？她能否与叶藏再续前缘呢？
梁弘志
回复 :真人真事改编，描述在加拿大美丽的大西洋省份新斯科舍省（Nova Scotia），一位患有关节炎的民间艺术家莫娣·刘易斯(Maud Lewis)，对艺术不懈的追求，与她的丈夫相识，并以艺术、贩卖作品为生的励志生活。
两个女生
回复 :Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.
