一群阿富汗妇女正在为工作权利而上街游行，塔利班很快赶到，用水枪冲散人流，女孩奥萨玛（Marina Golbahari 饰）和母亲湿漉漉的回到家里。奥萨玛一家的男丁全部在战争中失去，母亲只能靠私人行医贴补家用，而塔利班是不允许女性工作的，为解决生计，奥萨玛被家人乔装成男孩，送到父亲老战友的小店内工作，但是塔利班很快将奥萨玛送入伊斯兰学校，流浪儿艾士潘迪（Arif Herati 饰）在学校里帮助奥萨玛隐藏性别，不过事情还是败露了，奥萨玛的童年，在塔利班手中无奈的结束。本片全部由业余演员出演，获2003年戛纳电影节观众票选最佳影片、金摄影奖及年青导演奖，2004年金球奖最佳外语片奖等十余项专业褒奖。
王凯骏
回复 :After an encounter with aliens, a wealthy women grows to, surprise surprise, 50 feet tall. With her new found size she decides to get revenge on her husband and others that annoyed her.
阿里郎
回复 :在喜玛拉雅山长大的亚星（郑中基）练有一身瑜伽好功夫，某日奉父母之命下山参加印度西施家族举办的瑜伽选夫比赛的途中，被恨嫁的大家姐（应采儿）缠住。为了阻止亚星参加比赛，大家姐想出把他变成人见人厌的坏小子的狠招，不想联合三大恶人也没能将亚星改变，不甘心之下，大家姐又找来以坏混世的大胆叔叔（吴镇宇）。可惜大胆叔叔与朋友惊青舅父（刘青云）及其两个外甥已不幸被印度催眠术催眠，连自己是谁都不再晓得，然而亚星总算找到了领门人，赌场的两头神蛇把他教成了沉迷于赌博和吸毒的坏小子，此时，大家姐发现还是原来的亚星比较好，决定陪其一同喝下“印度神奇油”回到从前。
胡德夫
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
