罗素芳（吕丽萍 饰）是一个日资企业的清洁工，天天收入微薄。由于她早年离异，天天所以要独自抚养老母亲和读高中的儿子何志鹏（盛超 饰），所以生活拮据，精打细算。何志鹏学习成绩不佳，唯一的爱好就是跑酷运动，还组织了city monkey城市猴子跑酷俱乐部。这让她非常焦急。高考临近，当她从班主任那里得知，儿子犯有偷卷子、谈恋爱等斑斑劣迹，感到异常愤怒。祸不单行，她因为年龄偏大被迫下岗了，前夫（郭涛 饰）又来纠缠，希望获得儿子的抚养权。压力之下，她觉得自己这些年含辛茹苦的付出，就只有一个目的——为了儿子上大学有出息。然而，何志鹏却把全部精力都放在了他热爱的跑酷运动中，通过做教练、拍广告赚钱。为此，两人大吵，何志鹏赌气离家出走。为了让儿子参加高考，她不惜选择了欺骗的方式逼儿子就范……
林佩瑶
回复 :「摩梭」位于云南省丽江地区宁蒗县永宁乡，是中国唯一的母系社会，男不娶、女不嫁，人们终生与母亲同住，没有主流社会的婚姻与家庭。摩梭人重女不轻男，没有「男压迫女」或「女打压男」的问题﹔女女男男在性别与性事上轻鬆自在，人间罕见..。在如此平等、自在的文化模式裡，会刺激你反思哪 些？我们又学到什麽？工作小组在没水没电的摩梭山区裡生活一年多，进行母系文化研究，收穫甚丰，且完成纪录片《三个摩梭女子的故事》。本片没有旁白，纯由摩梭人自行述说，透过老中青三代摩梭女子的生活与对话，来呈现母系摩梭文化的独特风采。本片亦为「摩梭山区教育基金」筹款，门票收入扣除场租、全数拨归「摩梭山区教育基金」，以期山区失学儿童能重返校园。仅50元门票，已足以支付一个山区小学生的半年学费。导演的话在没水没电的摩梭山区生活了一年多，进行母系文化研究，如鱼得水，收穫甚丰，并拍成纪录片《三个摩梭女子的故事》。此纪录片没有旁白，纯粹由摩梭人自己说话，透过老中青三个（三代）摩梭女子的生活与对话，来呈现母系摩梭文化的独特风采......。
区瑞强
回复 :A special celebrating the origins and legacy of Star Wars' legendary bounty hunter, Boba Fett.
张小英
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
