剧情简介
刚参加完18届上海国际电影节的陈浩南（姜涛饰）、怪医自身有些浮躁、怪医自ccc。但是他真正的生活还是没有多大的改变、还是以拍一些特约和给别人讲脱口秀为生。有一天陈浩南迟到被老板骂：别以为你去了上海电影节、你就是明星了！让你来讲脱口秀是给你面子、信不信我拿钱砸死你！有一天陈浩南的好朋友明明（邵明明饰）来找他拍一部电影、陈浩南跟明明夸下海口可以拉到投资。但是打了一圈电话没有人愿意给他投资、最后给妈妈打电话求助投资了这部电影。
怪医文三块
刚参加完18届上海国际电影节的陈浩南（姜涛饰）、怪医自身有些浮躁、怪医自ccc。但是他真正的生活还是没有多大的改变、还是以拍一些特约和给别人讲脱口秀为生。有一天陈浩南迟到被老板骂：别以为你去了上海电影节、你就是明星了！让你来讲脱口秀是给你面子、信不信我拿钱砸死你！有一天陈浩南的好朋友明明（邵明明饰）来找他拍一部电影、陈浩南跟明明夸下海口可以拉到投资。但是打了一圈电话没有人愿意给他投资、最后给妈妈打电话求助投资了这部电影。
可儿家族
回复 :丹尼尔（迈克尔·恩奎斯特 Michael Nyqvist 饰）是一名指挥家，专业技能出色的他在全世界范围内享有着极高的声誉，随着时间的流逝，他的身体渐渐的开始无法支撑他对音乐的热情，一次突然来袭的心脏病迫使他永远的告别了舞台。为了养病，丹尼尔回到了久违的家乡，在那里，他成为了教堂唱诗班的指挥。工作上的停顿让丹尼尔十分沮丧，但在风景如画的家乡里，他找到了新的人生意义。同时，对于村民们来说，丹尼尔的到来和他所带来的对于音乐的热情和执着，也让这个平静的小镇熠熠生辉。该片于2005年提名了第77届奥斯卡金像奖的最佳外语片，这也是瑞典影片第14次以奥斯卡提名片的身份出现在人们的眼前。
方炯镔
回复 :蜜桃（黄美棋 饰）是一个早熟的八岁小姑娘，某日，她和好友外出拜神树，蜜桃许愿希望能够长大成人，没想到愿望真的成了真，蜜桃（钟真 饰）果真成为了亭亭玉立的十八岁少女。在游泳池边，蜜桃邂逅了名为丹尼（王书麒 饰）的男子，丹尼的英俊帅气很快吸引了蜜桃的注意。 虽然表面上成熟美丽，但蜜桃的内里毕竟只是一个八岁的单纯女孩，不知实情的丹尼对什么也不懂的蜜桃很是失望。蜜桃二姐的前男友在无意之中得知了蜜桃的秘密，
白雪
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
