David（古天乐 饰）、国产碧咸（苏志威 饰）、国产碧咸的妹妹阿Ann（杨恭如 饰）、泉（李灿森 饰）从小一起长大，四人宛如兄弟姐妹，David与阿Ann更是青梅竹马。一日，阿Ann在夜总会做陪酒女郎时被黑道社团洪乐社的老大胜（方中信 饰）看上，随后，Ann在酒吧为David庆祝生日时遇到了胜。David与胜争风吃醋发生了争执，打斗中胜错手误伤了泉，使其成了植物人，悲愤不已的David发誓要帮泉报仇。碧咸好赌欠下高利贷无法偿还，被色魔雄要挟用Ann来还债。胜得知后派手下与David、碧咸一起去找色魔雄谈判，岂料谈判破裂双方大打出手，心狠手辣的David奋勇杀出一条血路，斩杀了色魔雄。一时间David闻名江湖，随后加入了洪乐社。David表现出色，很快获得了胜的赏识，他认为为泉报仇的时机已经到了……
陈占美
回复 :Another brilliant giallo thriller from director Francesco Barilli, whose THE PERFUME OF THE LADY IN BLACK was one of the genre's most haunting and original films. This Italian-Spanish follow-up is a bit muddled, but no less engrossing.Set in a family hotel in Northern Italy in 1945, the film concerns Rosa (Leonora Fani), who helps her mother run the hotel while awaiting her soldier father's return from the front. In a Barilli film, nothing is as it seems, and before long Mom (who is sleeping with a traitor she's hidden in the attic) is murdered. Then poor Rosa is raped by two of the guests, who also are murdered, and while she's hiding the bodies she is forced into an orgy by all of the other guests. But before the guests get to far a mysterious man enters all shots the guests. Who is this mysterious man and what are his intentions for Rosa?Like all the best gialli, Pensione Paura completely dispenses with logic early on, elevating weirdness to nearly operatic levels while absorbing the viewer in a thick and spellbinding atmosphere of mounting dread. Francisco Rabal co-stars with Luc Merenda, Lidia Biondi, and Jose Maria Prada.
葛蕾威尔森
回复 :大西北粗粝广袤的土地上，仪表堂堂的高加林（周里京 饰）是这片黄土地上极其惹眼而又独树一帜的存在。他是镇上的老师，虽然兢兢业业教了三年书，但大队书记的儿子高中刚毕业就顶了他的位置，让加林愤愤不平。自古民不与官斗，在爹娘苦苦哀求之下，加林打消了告状的念头，心怀抑郁和愤懑的青年无奈回到田里耕作。在此期间，多亏了纯朴而美丽的姑娘刘巧珍（吴玉芳 饰）给了他安慰。爱情的滋润让加林重新找到前进的方向，他打理田间地头，业余时间从事写作。而就在此时，加林却意外得到了一个可以去县里工作的机会。人生和爱情面前，青年不得不做出抉择……本片根据路遥的同名小说改编。
回复 :Terminally ill Janette wants to die with dignity, but it’s not possible in the UK, where she lives. She therefore decides for assisted suicide. She must plan her journey to Switzerland before her rapidly advancing disease makes it impossible. The question of whether we own our own lives or whether they own us is the primary impetus behind this documentary portrait, which shows that death can be good despite the sadness that always accompanies it. The film, with dramatically suggestive camera work, uses feature film techniques, and engaging characters and stories of their loved ones are interwoven with Janette’s story."Let's talk about death because we will all die someday. The question is: can we choose when and how? I think we should." T. Krupa
