BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

RJ from a rich family? KOYA with a special leaf? SHOOKY at a bakery? 　　Wanna know what these are all about?

RJ from a rich family? KOYA with a special leaf? SHOOKY at a bakery? 　　Wanna know what these are all about?

杂货店对上大卖场，鸟来伯卯上大老板！ 　　一家大卖场以君临之姿开在鸟来杂货店巷子口！挟着庞大资金、企业化经营，宽广的场地、全新的设备、更齐全的货品、更便宜的价钱，大卖场来势汹汹，立将鸟来杂货店推向倒闭边缘。鸟来伯万万没想到，这家大卖场的老板──曾有义，是他年轻时并肩作战的挚友；他更不知道的是，曾有义竟是淑女当年曾经论及婚嫁的意中人！ 　　一张三十多年前的发黄老照片，翻出了一则不为人知的往事，尘封已久的秘密，一道无解的三角习题。同样画面的照片，为何会分别出现在有义和淑女的手上？如今，曾有义身为堂堂大卖场的董事长，但是没有丝毫大富商的市侩与气焰，致使鸟来伯误以为他是大卖场的小小清洁工，而基于多年来的情谊，热心助人的鸟来伯甚至还想法子要资助有义。 　　另一方面，鸟来伯为了贴补家用，将文辉的房间租给了大卖场的经理小马，小马是个擅于吹拍的年轻人，对老板的小女儿珍妮有意高攀，谁知珍妮却爱上了独自守候着秀美的青云，殊不知，秀美早已在美国偷偷与阿凯生了小孩……有义的老婆美凤，是个非常强势的女人，跟着有义一路由贫穷打拼到富裕，美凤对她的地位，从来就没有怀疑过，直到某一天，她无意间在有义的抽屉里发现了一张老旧的褪色照片──因为大卖场影响到鸟来伯的生计，让曾有义心里大大地过意不去，有意暗自帮助鸟来伯度难关，但是他深知鸟来伯的脾气，不敢承认自己就是卖场大老板，只好透过淑女表达他的关怀，不料三十几年前的尘封往事被翻了出来，淑女惨遭鸟家人误解与有义暗通款曲……

杂货店对上大卖场，鸟来伯卯上大老板！ 　　一家大卖场以君临之姿开在鸟来杂货店巷子口！挟着庞大资金、企业化经营，宽广的场地、全新的设备、更齐全的货品、更便宜的价钱，大卖场来势汹汹，立将鸟来杂货店推向倒闭边缘。鸟来伯万万没想到，这家大卖场的老板──曾有义，是他年轻时并肩作战的挚友；他更不知道的是，曾有义竟是淑女当年曾经论及婚嫁的意中人！ 　　一张三十多年前的发黄老照片，翻出了一则不为人知的往事，尘封已久的秘密，一道无解的三角习题。同样画面的照片，为何会分别出现在有义和淑女的手上？如今，曾有义身为堂堂大卖场的董事长，但是没有丝毫大富商的市侩与气焰，致使鸟来伯误以为他是大卖场的小小清洁工，而基于多年来的情谊，热心助人的鸟来伯甚至还想法子要资助有义。 　　另一方面，鸟来伯为了贴补家用，将文辉的房间租给了大卖场的经理小马，小马是个擅于吹拍的年轻人，对老板的小女儿珍妮有意高攀，谁知珍妮却爱上了独自守候着秀美的青云，殊不知，秀美早已在美国偷偷与阿凯生了小孩……有义的老婆美凤，是个非常强势的女人，跟着有义一路由贫穷打拼到富裕，美凤对她的地位，从来就没有怀疑过，直到某一天，她无意间在有义的抽屉里发现了一张老旧的褪色照片──因为大卖场影响到鸟来伯的生计，让曾有义心里大大地过意不去，有意暗自帮助鸟来伯度难关，但是他深知鸟来伯的脾气，不敢承认自己就是卖场大老板，只好透过淑女表达他的关怀，不料三十几年前的尘封往事被翻了出来，淑女惨遭鸟家人误解与有义暗通款曲……

玩爵士的玩到Chris Botti这个程度其实就算成功了，要不在这个媒体时代，没有偶像与八卦。大家岂不被闷坏。尤其在一些中产阶级无聊的小资趣味里，Chris Botti这种略显苍白的素雅可谓百发百中。这点和某些ECM狂热份子十分类似。个人非常不敌Chris Botti每每将其越发见老的帅哥脸作封面。说到这，发现这些似乎和音乐都没啥关系，罪过、罪过、还是听音乐为主。 　　被评选为“人物“杂志“世界上最美丽的50人“之一的小号手Chris Botti,欧洲浪漫主义的现代乐风。 　　Chris Botti，小号手，人年轻音乐资历却已十分丰富。十岁开始演奏，高中时开始职业生涯；生涯早期曾与萨克斯风手George Coleman、小号手Woody Shaw等爵士乐传奇人物合作。这些人的音乐常剑走偏锋，Botti在这段期间的收获反映在他演奏时不温不火的声调与天马行空的创意。随后Botti转战流行音乐圈。受过爵士乐的洗礼，Botti不甘生涯仅止于泡泡糖般的流行声响，合作的对象均为“言之有 物”的流行乐坛大将；如巴布狄伦Bob Dylan、艾瑞莎法兰克林Aretha Franklin、保罗赛门Paul Simon与史汀Sting等角色。从他曾合作过的对象，听者即使还不认识他，也应可以从中建立起某种“信任”，因为Chris Botti不像是会随便玩音乐的泛泛之辈。他是史汀Sting、保罗赛门Paul Simon、巴布狄伦Bob Dylan偏爱指定乐手、继Chet Baker后最令人期待的白人小喇叭手，这位兼具迷人外表以及优异才华的Chris发行了个人第一张专辑"Night Session 午夜时刻后引起了乐坛的一阵讨论。 　　笔者觉得，Chris Botti的吹奏乐器层次和演奏风格似乎提升了不少，从三年前的"When I Fall in Love"开始，似乎为他的音乐事业创新高峰；再到"To Love Again"再下一城，都获得很多的正面评价；其后，在去年推出的Chris Botti Live with orchestra and Special Guests唱片和演奏会，获得了空前的成功，看见来欣赏他表演的观众，以至买他唱片的听众变得前所未有的多，就或多或少知道和明白，看来他捕捉到听众对于音乐上的口味，再加上他自己技巧和情感演绎的多元变化，演出不同作品时候的表现，来得得心应手。他的个人魅力和潇洒的风彩，令到一众听众不止欣赏他外在的一面，而他的音乐，更是有品味和有个性的欣赏者的上佳选择；如果说在当代的爵士乐中有着一定程度影响力的人物，Chris Botti可以说是其中的表表者，他似乎为当代爵士乐的发展，创造了一个潮流和特色。 　　专辑曲目： 　　01.Someone to Watch Over Me. 　　02.When I Fall in Love. 　　03.A Thousand Kisses Deep. 　　04.What Are You Doing the Rest of Your Life? 　　05.Good Morning Heartache. 　　06.My One and Only Love. 　　07.The Look of Love. 　　08.Cinema Paradiso. 　　09.Pennies From Heaven. 　　10.Are You Lonesome Tonight? 　　11.Lover Man. 　　12.My Funny Valentine. 　　13.Why Not. 　　14.One for My Baby.

本剧讲的是美国西部拓荒时期，卡特赖特一家(the Cartwrights)——父亲及三个儿子——在内华达州太浩湖(Lake Tahoe)畔的庞德罗萨(Ponderosa)经营牧场、建立新生活的故事。是美国第一部彩色西部连续剧，从1959年播至1973年，总共400多集，胖哥哥HOSS和小弟弟JOE doh是主角，这部剧九十年代在地方台引进，中央8的每日佳艺曾放过2000年拍摄的前传《黄松牧场》。

梶鲇太（山内賢 饰十二岁）是个由祖母一手带大的十二岁少年。有一天，祖母妹妹的孩子冴子（岡田茉莉子 饰）出现在鲇太面前。被祖母领回来的冴子刚刚因为和中学生一起看了电影而被女校勒令退学。鲇太受托带着冴子的情书来到安静的乡下探望疗养胸部疾病的加岛（木村功 饰）。加岛向鲇太展示了一棵大树，虽然外形酷似丝柏，却又不尽相同，是为了明天变成丝柏而努力的“明天”（大树的名字）。 　　不久在白雪皑皑的深山里，加岛和冴子殉情了。三年后，祖母去世，鲇太（鹿島信哉 饰十五岁）得到溪林寺住持的照顾。住持的女儿雪枝（根岸明美 饰）鼓励虽然学过单杠但是毫无斗志的鲇太拼命苦练，创造了大回环的新记录。得到自信的鲇太，在雪枝受到一伙流氓骚扰时挺身而出，经过一番格斗打退了五大三粗的成年人。 　　又过了三年，鲇太考进了东北的高中。在他的居停除了女主人和女儿玲子（久我美子 饰）之外，还有寄宿的木原、江见、佐山、竹内等人。对于十八岁的鲇太（久保明 饰十八岁）来说，这是第一次看到大人的世界，他也渐渐被成熟的玲子所吸引。 　　不久，玲子遇到了一桩进退两难的提亲。即使不情愿，为了病弱的母亲和家里的将来也只好屈从了。束手无策的鲇太日渐消瘦。有一天，玲子开了句玩笑，信以为真的鲇太直接从石墙上跳了下来。吓了一跳的玲子亲吻了鲇太...鲇太渐渐理解了玲子的良苦用心，默默地离开了这个家。

In a local manor, several tourists are led into an attraction, that promises vampires and ancient history. However, the horror here is more real than fake…