这部影片讲述的是令人毛骨悚然的性困扰。杰维尔是一个已婚的剧作家，他偏爱电话性关系和家庭婴儿看护者，在参加一个性入迷者聚会时，他的双眼锁定了放荡的米兰达，那个喜欢在公共场所进行性关系的警察之妻。会后，他不能控制住强烈的欲望，在一个废弃的汽车里发生了性行为，然而他们的生活也因此毁了。 　　本片提名了1999年的柏林金熊奖，但是最终败给了实力强大的美国优秀电影"红色警戒"。 　　本篇导演曾经导演过美女佩内洛普.克鲁兹的爱情有害健康。女主角维多利亚·阿布来尔更是阿尔莫多万多部影片的主角，也屡屡出现在多部小地区的独立电影中，是独立电影导演喜欢的演员。男主角哈维尔·巴尔德姆来自西班牙伟大的演技世家，他的家人从事早期的西班牙电影制作，因此他早于六岁的时候就有在家族事业中参予演出的经验。青少年时期他在不少的影集参予演出，也代表西班牙国家队打橄榄球，过得相当多采多姿。他因为早期一部黑色喜剧中演出性感小生，顿时声名大噪，但却也被定型为性感的肌肉棒子。之后他极欲扭转猛男的形象而拒绝类似的片型，开始以宽广的戏路赢得大众对他演技才华的肯定。 Javier Bardem的得奖纪录相当辉煌，在国际重大影展中都有他的名字，2000年在【Before Night Falls】中饰演被迫害的古巴同性恋诗人雷纳多阿瑞纳斯，在动汤的年代里，坚守写作和心灵的自由，更是将他推向演艺事业的高峰。 　　西班牙情感的浓度，请你慢慢小心地品味。

色衰爱弛，欲望却不肯老去；记忆衰退，妒忌仍未许忘掉。她依旧沉默，在探戈的试探中寻觅爱与被爱的感觉；他继续怒愤，在情妇怀里渴求妻子的慰藉。老夫妻由互相深爱变为彼此折磨，困于各自的孤寂。女儿已离巢远去，留下只有年轻女佣，打理家居之时，试图理顺两个被心魔磨蚀的生命。墨西哥大师利普斯坦以冷峻且温柔的黑白光影，探进垂暮情欲与执迷的幽微地带，伴着《蓝天使》的悠扬乐韵，让爱与痛在皮囊的皱折间，深邈回荡。

钱钰盈（桂纶镁饰）的丈夫郑子汉（杨祐宁饰）在腿部截肢手术后不幸离世，钱钰盈想拿回丈夫被截肢的腿，却被医院百般刁难、互踢皮球，于是一场异想天开的“夺腿计划”就此展开！她缠着外科医生要求帮忙，跑到一般人从未见过的医院地下室，在一包包检体中寻找丈夫的腿，甚至找上内勤人员监控医院合作车辆的GPS，闹到医院院长都来关切… 　　而这段充满黑色幽默的寻腿旅程中，也勾起钱钰盈与郑子汉从相识、相爱到相互亏欠的过往回忆。郑子汉对美丽的国标舞者钱钰盈一见钟情，在照相馆朋友约翰（张少怀饰）的牵线之下成为她的舞伴，两人坠入爱河、步入婚姻，是人人称羡的神仙眷侣。但郑子汉一心想要赚大钱让妻子过美好日子，却让两人的感情逼入绝境，最终形同陌路，没想到两颗心再次靠近时却是在医院里将面临生离死别的时候…

伊斯拉和齐托是两个罗姆兄弟: 伊斯拉因毒品交易被送进监狱, 谢托报名参加海军陆战队。当伊斯拉刑满释放, 齐托从漫长的任务中返回时, 他们返回圣费尔南多。伊斯拉回到圣费尔南多, 找回妻子和孩子。但他能在西班牙失业率最高的地方生存下去吗？他们寻求救赎, 他们需要理清自己的生活, 并在找到和解办法, 伊斯拉和谢托再次团结在一起。

伊斯拉和齐托是两个罗姆兄弟: 伊斯拉因毒品交易被送进监狱, 谢托报名参加海军陆战队。当伊斯拉刑满释放, 齐托从漫长的任务中返回时, 他们返回圣费尔南多。伊斯拉回到圣费尔南多, 找回妻子和孩子。但他能在西班牙失业率最高的地方生存下去吗？他们寻求救赎, 他们需要理清自己的生活, 并在找到和解办法, 伊斯拉和谢托再次团结在一起。

卡迪尔的家族企业运营不顺，出现了现金流问题；祸不单行，一名工人又在工厂里受了重伤。全家人对事故的法律结果权衡再三，作出了这样的决定：如果不能说服工人的妻子签署弃权书，便要将责任全部推在家族中的某个人身上，并让他逃到国外去避风头，才能避免牢狱之灾。卡迪尔有为家族牺牲的觉悟，但他的理智告诉他不能这么做，因为他正准备结婚。卡迪尔试图处理这一危机的同时，也揭开了一些关于事故和家庭的秘密。一个道德难题摆在他的面前，他的抉择注定会掀起一场新的风暴。

卡迪尔的家族企业运营不顺，出现了现金流问题；祸不单行，一名工人又在工厂里受了重伤。全家人对事故的法律结果权衡再三，作出了这样的决定：如果不能说服工人的妻子签署弃权书，便要将责任全部推在家族中的某个人身上，并让他逃到国外去避风头，才能避免牢狱之灾。卡迪尔有为家族牺牲的觉悟，但他的理智告诉他不能这么做，因为他正准备结婚。卡迪尔试图处理这一危机的同时，也揭开了一些关于事故和家庭的秘密。一个道德难题摆在他的面前，他的抉择注定会掀起一场新的风暴。

In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　The meeting point for the film screenings is always at 9 pm in the exhibition space on the 2nd floor of GfKFB, Kunstfabrik, Am Flutgraben 3. The film screening will then probably take place in a former sales and presentation building in the immediate vicinity. The incomplete emptiness of this room conveys an impression of the parasite use which a globalized economy makes of space and how the appearance of urban space becomes subject to the strategic decisions of a company. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres.

In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　In Between two wars, Harun Farocki attempts to interlock the logic of war with the logic of production as determining dynamics of the years 1918-1933, the period between the two "world wars". By way of didactical acting, voice-over reflections and by applying a associating and analytical montage the film develops its thesis, that in the early 1920's the "necessities" of capitalistic production have become more and more ignorant of the actual needs of the people. Rationalization and the forming of trusts finally lead to a point where the capitalist production machine directly transformed into a warfare and destruction machine. 　　Farocki's film is relevant for the discussion of "The Lost Moment", both in terms of its narrative and in formal and aesthetic terms. Farocki tries to reconstruct the enabling conditions of a historical period, which was to manifest itself as an ultimate catastrophe and which was often not understood or straightforwardly mystified. While the political and economical decision makers are trying to perfect their use of the capitalist machinery, the workers are confronted with the question how come they always and at any rate serve this machine as canon fodder. 　　The narrator Farocki explains in the film that he had intended to tell the story at the original historic sites, but that these were mostly destroyed and had vanished. The war, which was produced there, had swept them away. Instead the artist Farocki, who in one scene we see at his money job as a picture editor for a print publication, abstracts from the call for "authenticity" and thus clears the table for an argumentative editing of the images. One could say that the film re-interprets the distance to the lost historical moment and turns it into a freedom of thought. Instead of searching the archives, Farocki searches the historical consciousness. This way, the film – even in its primness - also bears testimony of its time and the way in which certain films were made in Germany then. 　　The meeting point for the film screenings is always at 9 pm in the exhibition space on the 2nd floor of GfKFB, Kunstfabrik, Am Flutgraben 3. The film screening will then probably take place in a former sales and presentation building in the immediate vicinity. The incomplete emptiness of this room conveys an impression of the parasite use which a globalized economy makes of space and how the appearance of urban space becomes subject to the strategic decisions of a company. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres. 　　Florian Wüst, as a film curator, is interested in political filmmaking in Germany and specifically in the ways in which films deal with the peculiar identity of a "Post-War" society. I see interesting parallels to Farocki's work in the 70's (of which Between two wars is a good example) in Florian Wüst's own artistic production – also in "Belated Advocacy", which deals with the ideology of production in post-war "Wirtschaftswunder" Germany. Especially the use of historical documents, the interest for the linguistic forms of quotation and statement, the use of abstraction and re-enactment and also the self-confident positioning in the distance to the historic moment suggest interesting connections between both oeuvres.

唐杰年幼被欺，立志习武防身。后被选入专业队训练。回家途中，唐杰见义勇为，打跑地痞流氓，勇救少女。地痞带人寻衅，唐杰击败六大高手，弘扬正义。在艰苦的环境中，唐杰励志图强，顽强拼搏，克服种种困难，勇夺全国冠军，并在武馆击败日本挑战高手.....