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林直次郎
回复 :旅游学校学生林玫遭遇强暴，罪犯唐灏收买证人，将林玫一家逼入绝境。父母饭馆的伙计海瓜子带林玫逃到荒岛，九死一生后，林玫生下因强暴怀上的儿子。在林玫眼里，她恨这个孩子，他把这个不该出生的婴儿作为向唐灏讨还公道的证据。善良的海瓜子默默照顾他们母子俩，他始终暗恋着这个美丽倔犟而又不幸的女子。林玫带着孩子与海瓜子带到上海，寻找唐灏。人海茫茫，他们几番与仇人擦肩而过——唐灏终成香港某大老板之婿……
谷德昭
回复 :Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II?Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it?Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities.
中村雅俊
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