古老的日本奈良地区，亚洲香具山、亚洲畝傍山和耳成山比邻而立，由此衍生出2男1女缠绵悱恻的爱恋诗句，流传千古。在地处群山深处的小村庄栢森内，生活着一群甘于寂寞的人儿。染色家加夜子（大岛叶子 饰）和地方志编辑部任职的哲也（明川哲也 饰）是一对同居生活的恋人，情感归于寂静，相守只是习惯。村庄的另一头，居住着倦鸟归林的木雕艺术家拓未（こみずとうた 饰），他进驻无人照看的民居，与吸顶灯上筑巢的燕子相安无事。拓未与加夜子是一对青梅竹马，久别重逢让他们深藏心底的爱火炽盛。而他们这迟来的情感，似乎可邀要追溯到彼此的祖辈。巍巍藤原京遗址初现端倪，这两男一女的恋情也到了决断的关隘……本片根据坂东真砂子的原著《逢はなくもあやし》改编。
长渕刚
回复 :毕业季，四个名牌大学表演系的闺蜜各自憧憬着进入社会的生活。慧智（朴韩星 饰）整天花天酒地美容美甲，忽悠大家及时行乐，却无意中成了广告红人。柳敏（尹恩惠 饰）决定跟师兄男友分手，原因是后者的小气和小心眼，在慧智的介绍下，她认识了富二代，并且找到了一份电视台助理的工作，并偶然遇见了中学的粉丝，彼此倾吐对工作的感受。秀珍（车艺莲 饰）处心积虑想做演员，可惜在屡屡受挫，待业的她偷偷篡改了学历为了获得家教的职位。敏姬（刘仁娜 饰）懒得看父母冷战到离异的杯具，决定上补习班拯救烂的要命的英语，却没想到遇到了一个冤家学弟。四个姐妹，分别遭遇了人生之中新的抉择和挑战，当爱情、事业向友谊挑衅的时候，她们又会如何应对……
սʿ
回复 :该片是根据法国片《我的爸爸是英雄》改编的美国版喜剧，影片真实、简练，热情洋溢，以全新的视角反映父女真情，为观众呈现了一个让人捧腹大笑的温情故事。一个不放心十四岁女儿的紧张老爸，他与妻子离婚多时，女儿菲儿与母亲同住。为了跟不常见面的菲儿培养感情，他带她前往热情的巴哈马群岛度假，年轻美丽的菲儿引来不少爱慕者的眼光。菲儿为了引人注意，竟谎称时常盯着自己严加看管的父亲是男朋友，以至岛上的度假者以为他是大色魔，弄出连篇笑话。
杨雪帆
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.
