六月的东京，日本连绵不断的梅雨，日本让人心烦意乱，欲念横生。供职于心理咨询室的少妇凛子（黒沢あすか 饰）与丈夫（神足裕司 饰）过着优渥的生活，然而夫妻虽然相爱，却因丈夫洁癖的原因始终没有性事。贤淑温良而又倍感压抑的凛子只能通过自慰寻求片刻的满足。某天，一个名叫道郎（塚本晋也 饰）的男子被自杀的念头所困扰，于是打来电话求助。道郎在凛子的开导下渐渐摆脱自杀的泥潭，却转而沉迷于凛子的温柔中。他以凛子自慰的照片作要挟，逼迫这个一贯保守的女子做出一件又一件令她倍感屈辱的事情……本片根据导演塚本晋也的同名小说改编，并荣获2002年威尼斯电影节圣马科评审团特别大奖、2003年葡萄牙国际奇幻影展最佳女主角（黒沢あすか）和评审团大奖。
周辰俙
回复 :在元首的领导下，纳粹政权逐步稳固。为了进一步控制纳粹军官们的行为和思想，政府执行了一个邪恶的计划。他们将一批被完全洗脑的漂亮女子训练成共军官们玩弄的高级妓女交由凯蒂夫人（英格里德·图林 Ingrid Thulin 饰）管理，在占有军官们的肉体的同时，姑娘们也在暗中监视着他们的思想，以此排除异己。 玛葛塔（特蕾莎·安·萨沃伊 Teresa Ann Savoy 饰）是一名纳粹的忠实拥护者，年轻的她义无反顾的加入了妓女的行列。可是，在执行任务的过程中，她发现现实并不像她曾经了解的那样美好和光明。在猛然醒悟后，她决定献出自己微薄的力量，为摧毁纳粹的阴谋做出贡献。
童丽
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
刘小慧
回复 :朱珠和王旺一家住在西北地区的沙漠边上，为了治沙，朱珠和王旺一家人开始植树。他们冒风沙、抗烈日，肩扛人拉运树苗，一桶一桶挑水灌溉，每天往返数十里。持之以恒数十年，他们的辛劳初见成效。然而王旺不幸患了骨癌，不久就去世了。朱珠面对如此打击并没有屈服，她继续带领一家老小植树治沙，凭着不屈不挠的精神，将万亩不毛之地变成了绿色的海洋。
