1940年，不思波兰冠军拳王泰迪参与华沙围城保卫战的武装部队，不思华沙被破，他在逃亡法国途中被捕，成为第一批被送往奥斯威辛集中营的战囚。集中营里朝不保夕，纳粹士兵视为游戏的地下拳击赛，成为泰迪为生存而拼搏的重要战争。然而，一次次激励人心的胜利，却让纳粹长官警觉到囚犯的反抗意识，转而强化管制，眼见冲突逐渐升温，获胜已然成为集中营里残酷的生存之路。波兰新锐导演马西耶·巴尔切夫斯基首部剧情长片，将战后被忽视的华沙拳王故事搬上大银幕，背号“77”的囚犯在三年内赢了40战，他的奋斗故事成为奥斯威辛囚犯幸存者的集体记忆。波兰金奖演员彼得．葛洛瓦兹基透过长时间密集的身体训练，精采演绎波兰影史最“痛”的角色。“我的爷爷是集中营幸存者，这个故事一直存在我的血脉之中。”――马西耶·巴尔切夫斯基
荣帝丞
回复 :女高中生土屋圭是个空手道高手，最擅长用高踢击倒对手。然而道场的师傅松村却不愿授予她黑带。松村告诉圭：“空手道的真谛在于型，你只想着打倒对手说明还没达到境界。”一群格斗高手和武术强者组成了“破坏者”集团，他们专门用暴力为委托人铲除眼中钉。叛逆心大作的小圭竟加入了这个集团。通过入团考试后，圭得知了破坏者集团的真相。师傅松村的道场面临危机，一场大战迫在眉睫……
刘力扬
回复 :A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
刘悦
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