漂亮可爱，风灵性格外向的柳依依因为一次遇溺，风灵脑部受损，患上了不能根治的古德菲尔德综合征，她每天都像活在同一天中。自由撰稿人夏星跟友人洛康在一次的流浪旅途中，开车撞到了依依的妹妹－柳青青。柳青青把二人带回家，打算谈好赔偿。柳青青的家是一个风景优美的渡假村，夏星对这个度假村很感兴趣，便向青青提出了「打工还债」的说法。此时，柳依依出现在三人面前，她以为夏星和洛康是客人，于是热情地招待他们。依依跟夏星聊得十分愉快，夏星也对依依愈感兴趣，打算跟她继续发展下去，却不知道依依患上了短期记忆丧失症的事。第二天夏星早早来到同是由依依一家人经营的咖啡馆，等待着依依的到来。不料依依来了，夏星上前搭讪寒暄只得到了依依的冷漠回应。夏星虽然感到很奇怪，却没有因此而放弃。反而对依依有了兴趣，真的喜欢上了依依，于是对她展开了追求，不料同第一次一模一样的搭讪方式，第二次却遭到了依依狠狠地拒绝,此后的每一次都一样......
黄妃
回复 :本片讲述的是几个小孩子智斗小偷的故事，滑稽搞笑呆头呆脑的小偷被一群聪明伶俐、擅于就地取材的小孩子所制服，这群小孩利用自己手中的弹珠、弹弓、水枪、航模飞机等当武器，使用调虎离山之计，成功守护了被小偷差点偷走的国宝”小佛像”。
侯湘婷
回复 :影片改编自西班牙伟大诗人费德里科•加西亚•洛尔卡（Federico García Lorca 饰）六幕话剧，内战期间他因支持共和政府而被弗朗哥政府残忍杀害，叛军当政期间作品长期被禁。片中的故事以弗拉明戈舞纪录片的形式展开，通过演员的准备、彩排间即间离向观众讲述了这样一出血腥悲剧：新婚之夜，新郎的母亲心事重重，她偶然得知新娘是杀害自己丈夫的仇家的女儿，她的心中升起不祥的预感。新娘的表哥雷奥纳多（Antonio Gades 饰）深爱自己的表妹，他趁乱带着爱人私奔，得知此讯的新郎携刀追赶，两个男人进行了一场血腥决斗……西班牙导演 卡洛斯•绍拉弗拉明戈电影三部曲之一，另外两部为《卡门》和《爱情魔术师》。
柯林
回复 :Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
