9个表面上毫不相关的陌生人被绑架到一间房子里。一个神父，姐妹一个警察，姐妹一个舞蹈演员，还有作曲家和他的妻子，一个时装设计师，一个网球明星，一个犯人，还有一个黑人。无奈之下展开了一场相互残杀的赌命游戏：9个人被抓到了一间封闭而没有出口的屋子里，并被告知：愿与不愿都要互相展开一场人性游戏大战。唯一活着的人，就能走出这间屋子，并能获得500万美金的奖励，但也意味着要杀死其他的8个人，于是在绝望和希望并存中开始了一系列人性的大暴露。在金钱与利益面前，人，总是把持不住。当最后一人以为游戏结束，带上500万走出房子时，殊不知，走进了另一个深渊。究竟他们会如何抉择呢？
深蓝乐团
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
杭娇
回复 :
胡锐
回复 :五通神分雌雄两性，喜吸阴阳气及作淫乐。凡人水燕因与雄魔相恋，被化成元神。五通神为此大怒，要村民将童女献给他泄欲。方玉印被选中成五通神的祭品，山根暗中救人，五通神迁怒村民，四处淫辱。侏儒僧告之玉印前生其实是五通神的爱侣，只要与山根结合便能产生力量克制魔法，但山根却被五通神冰封，玉印被逼与众人直捣魔洞。
