Eldon Marsh is a physically weak man whose wife is stolen by a much larger man, named Wayne Phillips. He sets about a revenge that results in a rooftop confrontation with Wayne. The match seems uneven, but Eldon has an equalizer: a gun.

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

Unfair2006特别篇——密码破解 　 　　从安藤一之(瑛太)的死这个冲击性事件的9个月后。 　　在某高级旅馆的房间里发现了一个老人的尸体。桌子上面有遗书，一般认为从状况证据上来看是没有事件性。在搜查一课召开围绕在这个自杀事件的搜查会议。 　　以安藤为主谋所牵涉一连串的事件的人，留下在搜查一课的雪平夏见（篠原凉子）、被更迭的山路哲夫（寺岛进）晋升了的管理官小久保佑二（阿部隆史）、安本正广（志贺广太郎）、验屍官三上薰（加藤雅也）等4名。 　　一般认为昨夜的自杀事件是没有事件性的，不过自杀的是原警察干部，这个月之後已经有4个原警察干部因事故和自杀死亡，搜查一课也开始怀疑有他杀的可能性。可是，在这个会议里没有看到雪平的身影。 　　雪平在场末的酒馆里醉倒。警视厅公安部的搜查进到那里。把一边喊著自己的身分一边反抗的雪平给拘提了。 　　逐渐从酒醉里清醒的雪平，把脸颊对著拘留所冷清的地板陷入沉思。她想起9个月前的那天…… 　　事是从安藤死後的九个月，由原警察干部的自杀开幕，每个登场的人物看起来都像犯人，而真正的犯人究竟是？

当一家竞争激烈的金融公司出现了令人垂涎的升职机会时，情侣艾米丽（菲比·黛内芙饰）和卢克（阿尔登·埃伦瑞奇饰）之间曾经相互支持的情感开始变得更加危机四伏。随着两人关系中的权力格局发生不可逆转的变化，这对夫妇必须面对成功的真正代价，以及野心带来的极度不安。编剧兼导演克洛伊·多蒙特在自己的处女作中编织了一部关系紧张的惊悚片，直视破坏性的性别变化——在这个变化快于规则的世界里，它能让伴侣成为对手。《绝对公平》主演还包括埃迪·马森、里奇·索莫和塞巴斯蒂安·德·索萨，揭示了权力与自我之间令人不安的冲突。

一部关于法国职场阴谋的影片。一家小公司里，一个粗暴和专制的公司经理和他手下那几个各怀鬼胎的员工。像多数职场阴谋一样，他们的故事并不是表现在办公室里，也不是美国人习惯的酒吧和床上，而是在运动场上。这是本片的特别之处。自始至终几个人都是在各种各样的运动场上相互勾心斗角，有运动场上老板和职员的对抗，有森林里跑步时职员之间的威胁和妥协，有高尔夫球场上老板和大老板的阴谋，最终是在一场攀岩比赛过程中的总爆发。