剧情简介
拉辛（阿米尔贾迪迪 饰）因为欠债而入狱，熟乱在为期两天的假释裡，熟乱他的女友意外捡到一个装有17枚金币的手提包。拉辛原本想把这些金币转卖还债，但是可卖出的金额却远远不够还债。因此，拉辛决定转而寻找手提包的主人，希望能藉此获得一些奖金，没想到他的这项“义举”却意外在社群媒体上爆红……
熟乱图区
拉辛（阿米尔贾迪迪 饰）因为欠债而入狱，熟乱在为期两天的假释裡，熟乱他的女友意外捡到一个装有17枚金币的手提包。拉辛原本想把这些金币转卖还债，但是可卖出的金额却远远不够还债。因此，拉辛决定转而寻找手提包的主人，希望能藉此获得一些奖金，没想到他的这项“义举”却意外在社群媒体上爆红……
赵美彤
回复 :朱莉娅·奥蒙德将主演杰克·马哈菲执导([神迹男孩])惊悚片[重聚](Reunion，暂译)。影片讲述了一对母女打包出售老房子的故事，随着超自然现象发生，女儿必须面对她的家系带来的创伤。本片目前已在惠灵顿开拍。
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 :《加时赛》是一个基于真实事件的动人故事，它从一个国家对足球狂热的视角讲述了战争时期的恋爱和忠诚。在1941年的马其顿，自傲的足球运动员考斯塔和美丽的家庭富裕的犹太女孩瑞贝卡堕入爱河。但当他们决定要结婚的时候，瑞贝卡的父亲和她脱离了父女关系。当战争在他们国境边缘肆虐的时候，大多数马其顿人民还沉浸在爱国热情高涨的欢乐世界中。每个人都渴望着考斯塔的足球队（马其顿FC队）捷报频传。为了提高获胜的希望，球队经理聘请了富有传奇色彩的教练鲁道夫-斯匹兹。这名德国犹太籍混血儿以前曾是足球前锋。但在纳粹占领了马其顿并开始驱逐犹太人的时候，考斯塔和他的队友们必须鼓起勇气捍卫正义。影片导演米特热夫斯基作出如下评论：“当我在为一部电视系列片努力寻找见证过不同历史时期的目击者的时候，有人向我提起妮塔-科恩。我最后发现自己泡在她的寓所，倾听她的故事：她是马其顿国幸免于种族大屠杀的屈指可数的生还者之一，该国98%的犹太居民在二战中惨遭毒手。
