东京浅草的东荣馆，午夜各色人等寄宿于此。无业游民乡田三郎（石桥莲司 饰）无意中发现了贯通整座公寓的阁楼，午夜于是他从此游走于阁楼之上，以窥探房客的隐私为乐趣。和小丑打扮的男人通奸的贵妇清宫美那子（宫下顺子 饰）、拿女佣身体恶作剧的传教士远藤（八代康二 饰）以及迷恋达利风格的女体画家富田美幸（渡辺とく子 饰）等隐私机密，都在乡田的窥视下分毫毕现。不久乡田和美那子相互吸引，而他们的隐私游戏也愈演愈烈。乡那子偷情时扼杀了小丑，而乡田则从天花板上毒杀远藤。当他们如蛇般在天花板上疯狂搅动时，灾难却随之而来……改编自江户川乱步同名小说。
昊天
回复 :四川偏远山区的女教师小璐（秦海璐饰），自出生起就生长在黄河边，单纯质朴。一天，正在给孩子们上课的小璐被校长叫出去迎接外宾。这支专程从香港来到这里为孩子们注射疫苗的医疗队，受到了村里的热情款待。而温文尔雅的年轻实习医生小东，更是给小璐留下了深刻印象，小璐芳心暗许。当医疗队完成任务返港时，小璐乘坐的客车意外翻倒，恰巧被医疗队救出。此时，小璐完全被细心体贴的小东打动了，认定小东就是自己的白马王子。可小东和小璐终归是生活在两个世界的人，而且小东也有了女友。然而小东突然被诊断出患了癌症。万念俱灰的小东断然与女友分手，随小璐来到了黄土高坡。小璐无微不至地照顾着小东，甘心陪他走过人生的最后日子。然而小璐等来的，却是一段还未开始便已结束的孤单爱情。
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 :于日辰（王宗尧 饰），身边充斥名车美女的富二代，一次酒后驾驶， 女途人被撞至重伤。肇事48小时内面对法庭裁决，判监一年半！踏进监狱生 涯，惊觉铁窗后的天地，是自成一国、奉行暗秩序的宇宙。只要懂得融入生 存法则，便可安然渡过刑期。于日辰利用自己的富二代思维及财势，执意将 刻板的监狱生活品质高度优化。我们熟悉的监狱，从此变得不一样！他的死 敌阿积（张建声 饰）竟也被判到同一监狱服刑。阿积一贯的狂妄放任，在 狱中恃财勾结少数族裔及大圈帮横行。在铁窗绝境之中面对强大压力，他将 如何自处？
