陈沫（许伟豪 饰）与刘雯（伊丽努尔 饰）两人大学毕业后，妈妈刘雯选择了出国进修而陈沫则进入社会工作，妈妈两人从此天各一方开始了长达两年的异地恋。随着陈沫工作的日益繁忙，以及刘雯学业压力的逐渐增加。两人的轨迹渐行渐远，话题也越来越少。一晃两年很快就过去了，虽然两人并没有提出分手，都还在坚持着彼此相信的那份感 情，但坚持似乎变成了僵持。就在刘雯毕业典礼的前夕，刘雯在跟陈沫视频通讯时，陈沫手机画面里却出现了另一名裹着浴巾，衣冠不整的香艳女子。刘雯伤心欲绝，向陈沫提出分手。陈沫为了挽回这段感情，立刻放下手中的工作飞往美国，并得知刘雯将前往纽约实习。陈沫连哄带骗，说是要开车送刘雯去纽约，以完成自己多年的承诺。原本以为是一条温馨浪漫的爱情之旅，却囧状连连，事态百出。两人被困荒野，午夜遭遇野兽突袭，命悬一线。陈沫为了保护刘雯身负重伤，奄奄一息。
张德兰
回复 :At the time of the Polish social regime, a security officer is promoted to work at a prison yard. Introducing concurrently with the narrator; he speaks of himself, his thoughts, his point of view. He tells that he is not afraid of bandits or gangs; on the contrary he gets a kick out armed conflicts. To get a start in his new duty, he shops for a watchdog; and he buys an untrained attack dog as his companion. Then he speaks of the adjudications that the death sentence for fugitives is lacking influence. From his point of view, the judicatory tribunal must execute the fugitives in public. In the morning the next day he wears his uniform and start working with pride.Whilst he is on his duty, a very harmonic music score begins to be played on the piano. The watchman spectates the peaceful life on the street. At that time we catch on that socialism is not a governmental regime; yet it's an uneducated behavior.As a final scene the watchman witnesses of a cadet school's pupils being taught of the democracy. He leaves us with a confused smile.A soft and likable thesis from the Polish director Kieslowski. You can find this short documentary as a special feature in his DVD of A Short Film About Killing. It could help you to compass his film language.
张玥
回复 :尽管全球通力协作，地球还是不可避免地要与太阳相撞了，英国记者报道这个即将到来的灾难。
温碧霞
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.
