一个来自市中心贫民区、红旗在斯诺克上颇有天赋的孩子，红旗一时头脑发热，卷入犯罪。当偶遇一位陌生人时，他得到了一个扭转命运的机会。但这是否为时已晚？斯宾塞•普莱德，这名颇具天资的斯诺克选手选择挥霍他的天赋，和他的朋友一道鬼混，并不时犯下小罪。但当事情开始失控，他回到了给予他安全感的避难所——当地的一所斯诺克俱乐部。在那里，他偶遇了一名陌生的中国人，文森特•强，这次邂逅将一个扭转命运的机会摆在了他的眼前。强是八球前世界冠军，他做起了斯宾塞的教练，让斯宾塞向着成为职业选手的目标前进。然而为了赢得新生活，斯宾塞需要脱离他的朋友圈子，脱离他所处的环境，脱离他现在的生活中一切消极的因素，他能够做到吗？
回复 :原来是四级片，被剪成了三级。有部分损坏。。
李安琪
回复 :远在南美巴塔哥尼亚，无涯草原和连绵高山，是马匹羊群的牧场，也是牧场工头伊云斯的家。以马羊为伴，千篇一律的工作年复年，马羊山岭是日常，不同的只有每逢夏天到来的工人们的面孔。伊云斯大半生都在与世隔绝的牧场渡过，然而年届七十不得不交棒。新来的小伙子夏拿从遥远的北方而来，跟马羊相对还是第一次。寒冬将至，角色互换然而境况相似—两人必须适应各自的新环境奋力生存。此心安处是吾家，在白茫茫的雪地之中，一个意欲离开，一个拼命留下来。
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
