剧情简介
讲述了一代京剧名伶杨月楼和井宛云、私人周慧娟、洪月娇的生死恋情，及遭到黑暗腐败的满清政府迫害的故事
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讲述了一代京剧名伶杨月楼和井宛云、私人周慧娟、洪月娇的生死恋情，及遭到黑暗腐败的满清政府迫害的故事
蔡德才
回复 :达吕（维果·莫腾森 Viggo Mortensen 饰）是一名在阿尔及利亚出生的法国人，如今，他在一处地处偏远的山区学校里担任着教师的职务。某日，一名警察出现在了达吕的面前，将一名五花大绑的犯人默罕默德（雷达·卡特布 Reda Kateb 饰）交给了达吕，这个男人被控告杀死了自己的堂兄，达吕要将他押往临近的村庄接受审判。这门苦差事令达吕感到非常的头痛，因为他知道，只要默罕默德抵达了村庄，那么等待着他的就只有死亡，他不愿意做这样一个推手，但警察将默罕默德丢给达吕后就离开了，无奈之下，达吕只得带着默罕默德踏上了旅途。一路上，达吕不仅要提防默罕默德逃跑，还要保护他不受死者的亲属的袭击。
山下智久
回复 :东京明和银行职员中山雄吾（户次重幸 饰）坠楼身亡，搜查一课刑警伊丹宪一（川原和久 饰）率队赶赴现场，结果遭遇了颇令他头疼的警视厅电脑犯罪对策课的专门搜查官岩月彬（田中圭 饰）。原来中山生前曾以Justice11的ID在网络上上传散布大量疑似银行内幕信息的数据，其行为早已引起岩月彬及其同僚的注意。伊丹和岩月逼近中山的上司朽木贞义（田口智朗 饰），对方闪烁其词的举止让他们觉察泄露的数据中藏着什么秘密。岩月故意将搜查二课引入搜查本部，后者对旁支线索的追查果然为本案打开局面。不久，明和银行的支付系统发生故障，引起不小的混乱，而奔赴在前线的刑警们也接到来自政府高层的中止调查的命令。看似平常的杀人案，却牵涉着足以撼动全国政经根基的重大秘密……
连释
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.
