《俄宫谍影》讲述了法国外交官间谍迪昂的故事。他被派往俄国后，活跃于俄、法、德三国之间，在俄国著名的七年战争期间多次成为幕后关键人物。迪昂巧妙冒用已故间谍“波蒙夫人”的身份，赢得了俄国女皇的信任，此后以女性身份生活了34年。他在官服与蕾丝裙之间自如切换，用笔墨或刀剑掩饰自己的真实身份。影片还揭示了俄国七年战争中尔虞我诈的幕后真相。

Julia Ormond was swept off to Hollywood to become a star - but somehow it didn't happen. Now she's in London to appear in David Hare's new play. She tells Harriet Lane why she came back Five years ago, the smart Hollywood money was on Julia Ormond becoming the new Julia Roberts or the new Meg Ryan. Instead, she went off at a different angle and became the new Geena Davis. Like Davis, Ormond enjoyed a spectacular launch in Hollywood, buoyed by gallons of publicity rocket fuel: a dazzling ascent swiftly followed by a tumble back to earth at the end of a blackened stick. There is something rather Hilaire Belloc about Julia Ormond's story, something a little cautionary. Or rather, there would be if she would only play along with it, cast herself as The Fallen Star, or The Girl From Surrey Who Thought She Was Audrey Hepburn. But one role she's simply not interested in is that of victim. 'For sure, you don't believe the good stuff,' says Ormond, referring to the hullaballoo that surrounded her in 1995 when Legends of the Fall , First Knight and Sabrina all opened more or less simultaneously. 'I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.' Article continues -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- And it's true: she did know it was coming. At 29, Ormond hadn't submitted rapturously to the star machine. There were sacrifices she didn't want to make. On-set admirers called her 'formidable' and 'flinty' and 'honest'; unnamed sources grumbled about 'attitude'. Looking back at her earliest interviews, conducted amid a swarm of excitable movie execs and publicists, with superagent Michael Ovitz himself on hand to fetch her glasses of water, you note a rich seam of ho-hum scepticism. 'They seem to be very sure things are going to be a success,' Ormond told Vogue in 1995. 'I'm not being negative about it, but I'm hedging my bets.' Certainly, the timing was unfortunate. Legends of the Fall, where she played the love interest, was quickly followed by First Knight, a hilarious turkey in which a trumpet-sleeved Ormond was Guinevere, torn between Sean Connery and Richard Gere. Then came a remake of Sabrina, in which director Sydney Pollack misguidedly steered her into Audrey Hepburn's ballet pumps. Though she knows Sabrina was a mistake, Ormond has no regrets. 'It was a fantastic learning experience and OK, I got slammed because I wasn't Audrey Hepburn... but you could have predicted that, really, if you'd opened your eyes wide enough. But I was hungry for the learning experience and didn't feel secure enough to say no. You need to be bloody secure to say no.' She knew she was lucky, but she also knew she was out of her depth - not with the acting, but with the stuff that surrounded it. 'The odd thing for me is the focus on looks which happened in the States. I'd always felt that was not going to be a strong point. That made me feel very disturbed, because it never seemed to be about how much hard work was involved. Ever. It was about... "hazel eyes". It does help if you can brush that stuff off.' Billed by the publicists as an ingénue, Surrey-born Ormond was no such thing, and this may have saved her bacon. After drama school and an advert for cottage cheese, she had spent a decade as a jobbing actor in the UK, carving out a strong reputation on stage (in 1989, she'd won the London Critics' Award for Best Newcomer, in Christopher Hampton's Faith Hope and Charity at the Lyric Hammersmith) and television (in particular, as a drug addict in Traffik) before landing Legends. 'I found it all very scary. This fairytale gets built around you - as if you've been walking through the streets and then Sydney Pollack sees you and goes, "I'll put you in something!" When really you've gone to drama school and rep and then you've come to London and gone to auditions... and you've worked, solidly, for years. But that all gets forgotten. At first I was a bit indignant about it, and then I realised, "No, that's what people want, so that's what is given." But it's not in your control. It's just what happens to you, and that's what's frightening.' The roles, on the other hand, were a gas. In the UK, 'I'd seemed to play a lot of people who'd slit their wrists or cut off their hair or shot themselves or died of the plague. And if you do anything for too long, it starts to lack edge, to become too easy. Easy is the kiss of death. And so for me what I needed was to get my head out of my bottom, and so to go off and do First Knight - gallivanting around on a horse, with a cape, and knights in blue corduroy - was quite fun.' So Ormond gallivanted for a bit, airing her famous, transfixing smile as required ('You watch her just to wait for it to happen,' wrote one journalist), and then... vanished, at least from the mainstream. Stepping off the red carpet, she took bigger risks. A doomed film version of Miss Smilla's Feeling for Snow , directed by Bille August. A three-hour Russian epic, The Barber of Siberia, directed by Nikita Mikhalkov. When she was white-hot she'd been offered the Holy Grail of movie-star accessories, her own production company, and Ormond actually did something with hers, making a documentary about Bosnian women in Serbian detention camps, and working with Harold Pinter on a Karen Blixen short story that she hopes to direct. Last year she married an American who works in e-commerce. For her next trick, she's coming back to the London stage for the first time in nine years. At the Royal Court, in a break from rehearsing David Hare's new play My Zinc Bed , Ormond looks very London, very theatre. She's wearing a black jersey, chinos and navy flipflops, and her hair is rather tangled, as if it hasn't been brushed for days. No make-up. Her face has more character, more shade, than I was expecting. You do find yourself staring at her, just so you won't miss the wild energy that surges across it when she laughs. Ormond hasn't turned her back on film (the marital home is in LA, and The Prime Gig, a comedy co-starring Vince Vaughn and Ed Harris, is in post-production) but the Hare project was too good to miss. What swung it for her? 'The fact that David had written it and David was directing it at the Royal Court and it was a new three-hander. Plus, it's a brilliant play. I'm not making any comment on how we execute it or what we achieve through doing it, but reading it, it's a phenomenal play.' Since there's some sort of unofficial embargo about My Zinc Bed, neither Ormond nor her co-stars Tom Wilkinson and Steven Mackintosh will spell out what actually happens in the play, other than saying that it's about an entrepreneur who recruits a young poet to jazz up his internet empire. Ormond, who plays Elsa, the entrepreneur's wife, says the Hare script outshone every film script that was coming her way. In any case, she'd been keen to get back to theatre. 'I ride,' says Ormond, who has a way with analogies, 'and doing theatre after doing film is a bit like doing dressage or showjumping after you've been out for endless hacks, having just a wild old time. You're put through your paces in a different way. And it's not that going out for a hack is wrong or bad, I certainly don't view it as that; it's just that there's something about the dressage, being put through your paces, that makes you better.' Yes, she feels the stakes are high this time around. 'I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it. So I think people are a little guarded about me. Oh, God! It's never just about the piece. Something else always washes over it.' She's anxious that her own trajectory, her own reputation, should not obscure Hare's work. When she adds, 'But then, my sense is that that' s all something in the past - I've escaped it', she sounds like she really means it. •

抗日战争进入相持阶段，日军高层秘密制定了樱花行动计划，派出以出口、佐仓、大月等人为首的日军高级女间谍蝴蝶分队，欲对20师师长戴冲宇实施离间刺杀。中国共产党派出地下工作者岳中民和柯平二人以公开调查戴冲宇为名暗中秘密保护戴将军。国民党方面也派出军统特派员岳中民（实为中共地下工作者）公开调查戴师长。敌我三方任务特殊，藤树纠缠，真假难辨。 谍影南山战场上双方伤亡惨重，日军师团长实施樱花计划。第一步，故意让翻译官谷元瑞看见20师的南山布防图，借谷元瑞之手让重庆方面认为20师有人投敌叛变，后又伪造投降书，让谷元瑞误入圈套。第二步，派出大月凌子多次刺杀戴冲宇。第三步，以唱戏之名，诱捕了与山口长相酷似的梅芝兰（又名玉娘）。山口乔装受重伤的玉娘逃出，故意躲在路上被谷元瑞之妻李云月救起留在谷家。重庆方面接到谷元瑞的报告，派出特工岳中民赴柏城调查戴冲宇是否投敌。在谷家，岳中民发现玉娘（山口）很像自己昔日恋人梅芝兰，逐渐对她产生同情与信任。中岛见樱花计划初见成效，便以搜查逃脱的玉娘为由杀死谷母和谷元瑞，用敲山震虎之计逼迫岳中民带假玉娘离开柏城，将假投降书送往重庆，以便达到离间的目的。岳中民带玉娘、谷妻逃至一小镇，谷妻被追兵所杀，岳中民又与玉娘逃到安宁堡，宋堡主和侄女宋小倩对岳中民和玉娘多方帮助。岳中民与柯平分析，觉得戴将军很可能是被日放反间，但重庆高层坚持要调戴将军回重庆述职。岳中民与柯平为安全起见，让玉娘乔装成戴将军夫人与戴将军替身先行，途中遭佐仓等日本小部队的伏击，假玉娘（山口）借机刺杀了戴将军的替身和柯平。柯平昏迷前手指玉娘相告知真相，但岳中民不解其意……戴将军将计就计暂时隐居但在暗处继续指挥。战场上进攻又一次受阻时，傅市长派夫人潜入柏城告知戴将军并未死去的真相，中岛大怒。山口欲戴罪立功进行新计划，大月凌子赴荔城进行破坏，但被岳中民识破。相处中岳中民觉得玉娘反常，后在医院遇到九死一生的梅芝拦后才醒悟过来，并下令抓捕假玉娘。在与安宁堡主和家大姨的游击队配合下，岳中民派遣宋小倩并策反了大月凌子潜入蝴蝶分队卧底。交换人质时，山口被中岛击毙，战局失利，中岛与佐仓破腹自杀。岳中民与梅芝兰在戴师长的护送下，奔赴解放区，迎接 抗日战争的最后胜利。 谍影

一个藏地青年决定刺杀世仇后，坠入不可回返的命运悲剧。

关于影片： 俄查位于海南岛的西南部，黎族是这个岛屿的原住民。相传黎族同胞为纪念渡海而来的黎族祖先，故以船型状建造住屋，门开左右形如船的茅草屋，因而得名为“船型屋”。 船型屋是黎族几千年来一直居住的传统方式。 　　　　 俄查属于黎族的美孚方言支系,因而也被称作美孚黎。由于地处偏远,他们依然过着传统黎人的生活。拍摄了一年多，全面记录。 俄查村一百五十多座茅草屋，六百多人。

Winner of Special Prize at legendary Brussels International Experimental Film Festival, 1964. A surreal short tale of a young guy bears a big egg after masturbation... This short holds the only real "narrative" in the collection, as it captures a man engulfed by his perversion and sexual tension. Shortly after searing holes in nude photographs of women with a phallic-shaped rod and -- afterwards -- self-gratifying himself, or so that would seem how Iimura's photography would like for us to perceive it, he discovers an egg "birthed" in between him legs. When confronted with the idea that this may have been his creation, this once-impassioned man now starts to discover maternal tendencies shortly after his orgasm. By far the most compelling work in the collection, Onan tinkers with gradual, real masculine emotionality and eroticism as the focal character playfully and curiously plays with the egg, rendering an odd image of a once perverse man now nurturing the ideals of his passion's product. It can be seen as a metaphor for the cyclical existence of masculine energy, or even as misinterpretation of gender norms once the only other "character" in the film comes out. There's a lot of thought and energy in this seven-minute piece, one that packs more themes than most films ten times its length.

就算流尽最后一滴血，坚决将日寇歼灭在大南山脚下……巨炮轰鸣，摧枯拉朽，敌寇心惊胆破，猛虎下山，横扫千军，英雄方显本色。抗日战争进行到相持阶段，在南方柏城大南山，敌我双方进行着激烈的拉锯战，大南山防线犬牙交错，日军动用了飞机、大炮、坦克进入胶着阶段。日军久攻不下，为尽快打通南大门，敌酋中岛正雄精心策划了一场间谍战，组织了一个“蝴蝶小分队”潜入柏城，隐藏暗处秣马厉兵，企图从内部瓦解大南山的防线。我守军二十师抗日名将戴冲宇将军是敌人行动的主要目标，我共产党地下组织接获信息，立即派遣情报人员岳中民冒充军队特派员前往柏城，利用军统的身份，接管了柏城、荔城两地的军统组织，与日军的蝴蝶小分队、重庆军统三方展开一场斗智斗勇的生死较量，保证了我新四军与二十师在大南山与日寇的决战顺利进行，击溃了日军的蝴蝶行动组，粉碎了敌人大部队开往南方的美梦。

1940年，海城动荡不安，伪政府“76号”肆虐，前青帮成员集结势力，令全城恐慌。军统急欲铲除“76号”，却苦无良机。“76号”残害无辜，我党一名代号“五爷”的特工接到刺杀令。伪政府庆典上，一名要员被刺，日本当局警觉，锁定五名嫌疑人。日本特务设宴，企图引出“五爷”，然而却在宴会中被发现死于浴缸，一声尖叫引来众人......

镇北军副将贺知洵与结发妻子司容曾许下“一生一世一双人”的誓言，然而，一次酒醉却让侍女宋莲儿有机可乘，登堂入室成为妾室。宋莲儿入府后迅速怀孕，不仅日益骄纵，更暗中掌控府中事务，行事诡异。敏锐的司容察觉到种种不寻常，深入调查后惊悉，宋莲儿的真实身份竟是北漠潜伏的细作，而其腹中胎儿也并非贺知洵骨肉。为守护家国与清白，司容选择联合护国将军夫人，精心收集证据。最终，在护国将军视察之际，她勇敢揭露了宋莲儿的惊天阴谋，协助朝廷成功剿灭了意图谋反的叛军。事毕，司容毅然选择放手，带着贺知洵早已备下的和离书，随兄长离开了这片背叛之地，开启属于她的全新人生篇章。

单纯男孩Danny（本卫肖 饰）爱上了神秘且才华横溢却有着反社会倾向的男人Alex（爱德华霍尔克罗夫特 饰），而此人正是英国军情六处总部的一名间谍。随着Alex的消失，Danny发现自己被卷进了一个纷繁复杂又危险重重的谍报世界，那个世界对他来说是全然陌 生和未知的，他能否下定决心为找出真相而斗争到底？