西奥多（贾斯提斯·史密斯 Justice Smith 饰）是一位非常忧伤的年轻人，有精脑子里整天都徘徊着自我了断的糊涂念头，有精也有几次，西奥多试图将自杀的想法转变成为现实，但每到这个节骨眼上，总会发生一些事情阻碍西奥多踏进另一个世界的步伐。维奥莱特（艾丽·范宁 Elle Fanning 饰）的姐姐去世了，和姐姐感情十分要好的维奥莱特陷入了痛苦和抑郁之中。正在念书的她迫不及待的期盼着毕业季的到来，如此一来，她就可以彻底逃离令她感到窒息的印第安纳小镇，逃离姐姐的死带给她的阴影。这样的两个年轻人，一次偶然之中，他们在钟楼上相遇了。西奥多发现，这个可爱率真的女孩能够令自己卸下假面和心房，维奥莱特亦觉得，和西奥多在一起的每分每秒，时间不再那么令她感到难熬。
叶文辉
回复 :如小熊从冬眠中醒来，我已开始爱上这样的一个你。」在图书馆里，Hyun Choi (Bae Du Na)发现书中留下这样的一句话，再看另一本书，也是冩著同一句话。到底是谁留下的字？不知不觉间，这句话已扣著Hyun Choi的心弦，她要找出那个静静留低这些话的人…… Hyun Choi是普通朝九晚五办公室上班一族，过去经常因为性格太倔强，多次遭男友们抛弃。当她决定要找出那个神秘留话人的时候，原来真正的爱情已在那一刻发生。 Yong Lee首次执导之作《Do you like spring bear?》，由Bae Du-na及前身为模特儿的Kim Nam-jin主演，清新演绎一段神秘浪漫的现代爱情。
郑延俊
回复 :Martin Schulz (Paul Lukas), a German/American art dealer, returns to Germany at the outbreak of World War Two, adopts the Nazi propaganda philosophy, refuses to protect the Jewish fiancee, Griselle Eisenstein (K.T. Stevens), of his son Heinrich Schulz (Peter Van Eyck), who has stayed in America to run the family business
齐藤和义
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
