一群从小玩到大的兄弟姐妹，岁末一群从农村来到城市的男女，岁末围绕李大力，东子和小志的兄弟情义，东子的打拼奋斗史，姐姐刘晓佳和妹妹刘晓云之间的隔阂，李大力从一而终的单恋，以及最后各自的情感归属，上演了几重有笑有泪的都市往aaa。专一的李大力与暗恋多年的刘晓佳是否会走到一起。要强能干的东子到底经历了多少坎坷才打拼出一番事业。李大力，东子，小志三兄弟之间为什么会反目成仇。有特殊成长经历的刘晓佳内心深处真正喜欢的是谁。叛逆的问题少女刘晓云为了保护姐姐付出了什么。他们共同诠释了最美好的青春——在人生的旅程中，有兄弟姐妹在真好，不忘初心真好。
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
回复 :霍维（艾伦·艾克哈特 Aaron Eckhart 饰）和贝卡（妮可·基德曼 Nicole Kidman 饰）原本过着悠哉快活的中产阶级生活，夫妻恩爱，儿子丹尼乖巧伶俐，但是一场车祸夺去丹尼的性命，也彻底摧毁霍维夫妇的生活。贝卡从此将自己禁锢在家中，虽然试图通过各种方法消解心中的悲痛，然而她久久无法将儿子的身影从记忆中抹去；霍维试图装作一切从未发生，结果反与妻子的关系日益紧张，争吵不断。贝卡偶然遇见那个导致儿子死亡的高中男孩，她开始有意识地去接近他。烦躁孤独的霍维，则似乎正寻找一个心灵的港湾……本片根据大卫·林赛-阿贝尔（David Lindsay-Abaire）的百老汇同名戏剧改编。
张启辉
回复 :天无门主呼伦法师(张道饰)苦练「子阴毒功」有意称霸天下，作法取童子尿与胎盘，以供练功，手段残酷。高生(袁日初饰)乃阴阳堂弟子，无意中闯进禁地，发现「阴阳分元大法」秘籍，乃暗中偷练，但因根基浅薄，弄得魂魄离身，不能返回，幸得银久(李文泰饰)及时救助。海青派李天道遭天无门杀害，妹李剑娥(刘皓怡饰)遍访江湖寻兄。是夜正值关作法取童子尿，剑娥查悉制止……
