曾经是幽幽暗暗反反复覆追问才知道平平淡淡从从容容才是真 ――『再回首』上世纪八十年代初，北方某城…

15岁少女毛豆的父亲无故失踪，只留下一条信息“这世界有兽”，毛豆不得不学会独自生存，黑猫奶茶店的神秘店主拉玛收留了她。正当毛豆开始相信拉玛时，却发现拉玛私下里其实饲养了“兽”。与此同时，在学校里，“兽”悄悄地出现在毛豆和朋友身边并袭击毛豆，想要夺取毛豆的眼睛！，奶茶店主拉玛到底是什么身份？“兽”到底是什么？

15岁少女毛豆的父亲无故失踪，只留下一条信息“这世界有兽”，毛豆不得不学会独自生存，黑猫奶茶店的神秘店主拉玛收留了她。正当毛豆开始相信拉玛时，却发现拉玛私下里其实饲养了“兽”。与此同时，在学校里，“兽”悄悄地出现在毛豆和朋友身边并袭击毛豆，想要夺取毛豆的眼睛！，奶茶店主拉玛到底是什么身份？“兽”到底是什么？

上影演员剧团深入生活，创作出一部《何须再回首》，一枝独秀。 　　崔杰在《何须再回首》中扮演樊老大，将一个人性复苏、良知回萌、走向新岸的特殊人物演得活灵活现。

上影演员剧团深入生活，创作出一部《何须再回首》，一枝独秀。 　　崔杰在《何须再回首》中扮演樊老大，将一个人性复苏、良知回萌、走向新岸的特殊人物演得活灵活现。

初中生春日恭介生在一个超能力家族，为了避免不必要的麻烦，春日家相约保守这个秘密，却又因家庭成员一次次破戒而不得不频繁搬家。这一次，他们来到一座新的城市。因一顶飘落的红草帽，恭介邂逅了美丽的长发少女鲇川圆，于是便对这座城市有了好感。及至进入新的学校，恭介才发现鲇川竟是自己的同班同学。鲇川个性独立、刚强，因其不良少女的身份而被同学孤立。和她亲近的只有低年级的小师妹桧山光。偶然机缘，阿光喜欢上了呆头呆脑的恭介，从此以其自居，而恭介似乎更加喜欢鲇川。另一方面，在随后的交往中，鲇川也对恭介有了好感，却因阿光而有所顾忌。他们的三角恋情将会如何发展？ 本片根据日本漫画家松本泉的同名原著改编。

初中生春日恭介生在一个超能力家族，为了避免不必要的麻烦，春日家相约保守这个秘密，却又因家庭成员一次次破戒而不得不频繁搬家。这一次，他们来到一座新的城市。因一顶飘落的红草帽，恭介邂逅了美丽的长发少女鲇川圆，于是便对这座城市有了好感。及至进入新的学校，恭介才发现鲇川竟是自己的同班同学。鲇川个性独立、刚强，因其不良少女的身份而被同学孤立。和她亲近的只有低年级的小师妹桧山光。偶然机缘，阿光喜欢上了呆头呆脑的恭介，从此以其自居，而恭介似乎更加喜欢鲇川。另一方面，在随后的交往中，鲇川也对恭介有了好感，却因阿光而有所顾忌。他们的三角恋情将会如何发展？ 本片根据日本漫画家松本泉的同名原著改编。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Jack Linden (Mark Ruffalo) and Hank Evans (Peter Krause) are best friends who both teach at the same university in a small New England town. They both have young children and Jack's wife, Terry (Laura Dern) is close with Hank's wife, Edith (Naomi Watts). But while things appear happy on the surface, there are smouldering pockets of discontent underneath. Financial struggle and domestic boredom has drained the passion from Jack and Terry's marriage, while Hank's numerous infidelities and self-absorption has prompted Edith to find both comfort and sexual fulfilment with Jack. As Jack begins spending more and more time with Edith, it becomes obvious to Terry, whose anger culminates in a sexual encounter with Hank. Now that the deception has come full circle, both couples are left to decide the futures of their shattered unions...