弥雅

阿瑞是香港小有名气导演，由于偏执的性格和忙碌的生活，让他在工作和感情上都出现重大挫折，低迷中，他收到成都女孩晓晴的邀请，前去成都看望自己曾资助过的灾区小孩。晓晴是一个陶艺店老板，有一位聪明能干的助手左小强，左小强在追求晓晴未果后，偶然遇到去陶艺馆对面餐馆演奏小提琴的伊雪，并萌生爱意，在追求过程中，得知伊雪的梦想是演戏，左小强为了讨伊雪欢心找到了刚来到成都的导演阿瑞，令人预想不到的是，这次相遇改变了这4个80后年青人今后的事业轨迹和爱情轨迹……。印度北钦奈地区，撞球球员阿布梦想成为世界冠军，却意外地卷入了帮派的地盘斗争中。面对尸横遍野，阿布拿起刀，刺向了某帮派头领的后背。当下发生的一切，始于1985年的一场争斗，而这场争斗，一直延续到了2002年，阿布的身份也一步步被揭开。影片是对黑帮题材的的创新处理，以阿布为核心人物，他既游离在各帮派的人物关系网之外，却又参与到各帮派的争斗中，在旁观者与参与者的身份转换间，强化了影片的黑帮色彩，更赋予了影片独特的质感。导演以慢镜来表现打斗细节，也为画面增添了诗意。贯穿影片始终的撞球，亦暗示着不同帮派之间的对垒。。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.。