The documentary, Star Wars:Evolution of the Lightsaber Duel, examines the sport and athleticism behind the choreography and training utilized in the making of Star Wars lightsaber duels and how the battles progressed throughout the films.

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

在某户武士家庭，腿脚不便的庄司佐之助（仲代达矢 饰）白发苍苍。当年哥哥成为家族的当家者，而佐之助变成了尴尬的寄食者，头靠在哥哥门下度过了大半生的…

http://cinefreak.org/226825-parbaj-1961

卡罗琳·费伊夫人（艾莉森·杜迪饰）遇到了范恩·布雷肯勋爵（本尼迪克特·泰勒饰）并被他所吸引。当她发现他被指控犯有他没有犯下的谋杀罪时，她开始试图证明他是无辜的，并在他的家族城堡中担任他母亲的伴侣。她发现布雷肯家族不仅拥有丰富的土地和财富，而且隐藏在城堡墙后的秘密也非常多。

卡罗琳·费伊夫人（艾莉森·杜迪饰）遇到了范恩·布雷肯勋爵（本尼迪克特·泰勒饰）并被他所吸引。当她发现他被指控犯有他没有犯下的谋杀罪时，她开始试图证明他是无辜的，并在他的家族城堡中担任他母亲的伴侣。她发现布雷肯家族不仅拥有丰富的土地和财富，而且隐藏在城堡墙后的秘密也非常多。

在未来时空，是人类可以自由在宇宙旅行的年代，由神秘的惑星引来的大型陨石，带出一场星际危机。 　　库洛德(Crawd)跟父亲罗尼齐斯提督一起来到了米罗基亚惑星做调查。结果在调查的时候发生意外，库洛德独自被时光机转送到异世界去。醒过来的库洛德第一眼看到的世界竟然是一个完全陌生的未知世界，并意外的解救了蕾娜(Rena)，成为了异世界传说中的的勇者。 　　蕾娜带著她的救命恩人-库洛德(？)到了村子。蕾娜一直认为库洛德就是传说中的勇者，而一心只想回自己世界的库洛德却对蕾娜说他并不是勇者。 　　后来，蕾娜被青梅竹马的亚雷捉走了！一颗奇怪的石头控制著亚雷，库洛德陷入苦战中。结果此时，蕾娜身体里那道秘密的力量突然解放…… 　　库洛德(Crawd)该如何返回原来的世界，又该如何解救这个未知的世界呢？