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…

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。

林心蒂（潘迎紫）因父亲心脏病过世，从小在孤儿院长大，所以立志要成为心脏科医生。心蒂在仁爱医院担任院长王光明（岳阳）的助手。光明先天心脏衰弱，跟妻子丽珍（李湘）感情不睦，在心蒂无微不至的照顾下，两人因此日久生情，互相爱慕。 光明和丽珍虽育有一子，但小凯（汤志伟）却不是光明的亲生儿子。一日，丽珍在歌厅碰到小凯的亲生父亲蔡仁雄（陈鸿烈），仁雄想带丽珍母子回家团聚，正当丽珍举棋不定的时候，竟让小凯意外得知自己的身世，承受不住打击的他，在风雨交加的夜晚夺门而出，因而染上肺炎住院。光明原以为可以藉着小凯的病，改善和丽真的关系，谁知丽珍一见到心蒂就认定她是破坏家庭的第三者，对她破口大骂，心蒂只好黯然的离开医院，暂时到歌厅驻唱。不久小凯也因病重，离开了人世。 没多久丽珍发现自己得了脑癌，她希望和光明好好度过剩下的日子，并要光明找心蒂回来医院工作。但心蒂拒绝了光明的邀约，她终于存够钱便可以到美国习医。十年后，当上心脏科医生的心蒂，专程回台湾替光明开刀，并鼓励他重新振作，而心蒂则选择回美国继续行医。

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。

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...

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...