主人公耿小美（郭雅露）因一次比赛，摔伤了脚，医生告诉她，她可能再也无法比赛，只能转校去别的学校，再也压抑不了心里的悲痛，站在大楼上准备自杀，（因为滑冰就是她的生命。。。） 　　是一直鼓励她的系主任让她重燃斗志，原来她是单人滑冰的运动员，准备成为双人滑冰运动员，故事就这样展开了。她在为自己搭档的事烦恼，因为她没有时间了，如果再不抓紧训练，两个月后的再失败的她将要真真正正的离开滑冰的赛场，这是最后的机会。一路慢悠悠的闲溜达，到了一个私人露天滑冰场，见到了，男主角郑炀（任重非），因为他举起了一个大汉，从第一眼起，她认定他就是自己要找的那个人，一切即将开始。。。

满眼的黑色中，唯有独舞的女子一人。光与影间交错的，是她慢慢伸展开的腰肢和手臂。跟随音乐的起伏，女人轻柔地舞动着。魅影婆娑，男人出现。他们相拥相舞，是黑暗中绽放的两朵炫目的光之痕迹。 　　这部既无故事情节也无任何对白的实验先锋短片，是导演诺曼·麦克拉伦探索光学镜头和技巧摄影潜力去表现动态之美的影片。为了体现出运动本身的美，摄影师在最初拍摄舞蹈时以慢动作镜头拍摄，在印片时则通过12次的曝光使舞蹈的动作得到扩展和形如分解的效果。 　　本片荣获第41届奥斯卡金像奖-最佳真人短片提名，入围第21届戛纳电影节短片金棕榈奖，并获得其他共16项大奖。2006年6月，本片被评选为安纳西国际动画电影节 “动画的世纪·100部作品”的第32名。

以色列编舞伊曼纽尔·盖特以久负盛名且充满历史感的巴黎皇家 宫殿为背景，通过现代舞和谈话探索双人合作的艺术形式。独特 的编舞使两名身着彩绘的舞者在面对面的互动中融为一体。在这 种双重关系中，运动、对话和环境被赋予了前所未有的重要意义。 　　In the prestigious and historic setting of the Palais Royal in Paris, Israeli choreographer Emanuel Gat questions the form of duet through contemporary dance and dialogue. This unique choreo- graphic composition brings together two dancers with painted bodies in a virtuoso face-to-face experience. More than ever in this dual relationship, importance is given to movement, dialogue and the context in which it emerges.

郑明明是在芭蕾舞校上学的十四岁女生，喜欢同年级的男孩范天，她一直想找机会和范天表白，可惜屡屡失败。与此同时还有件事情困扰着明明：她发现自己的胸不知不觉地长大了。明明羞于自己的胸部越变越大。她害怕范天嘲笑自己，于是想出了各种办法缩胸，但都不见效。双人舞课上一次意外，明明和范天摔倒在地上，范天不小心抓到了明明的胸！正当明明觉得自己最丑陋的地方被心上人发现了时，范天却对明明产生了好感……

郑明明是在芭蕾舞校上学的十四岁女生，喜欢同年级的男孩范天，她一直想找机会和范天表白，可惜屡屡失败。与此同时还有件事情困扰着明明：她发现自己的胸不知不觉地长大了。明明羞于自己的胸部越变越大。她害怕范天嘲笑自己，于是想出了各种办法缩胸，但都不见效。双人舞课上一次意外，明明和范天摔倒在地上，范天不小心抓到了明明的胸！正当明明觉得自己最丑陋的地方被心上人发现了时，范天却对明明产生了好感……

你想不到，花样滑冰赛场上竟然有如此搞笑的溜冰表演。查兹（威尔·法瑞尔 Will Ferrell 饰）摇滚味十足，耍弄着喷火的伎俩，一举一动都赢得粉丝们的狂热支持，整个场地都变成了他轻松驾驭的舞台。本来胜券在握，却万万想不到对手吉米（乔恩·海德 Jon Heder饰）同样实力超群。别小看吉米一副娘娘腔的打扮，优雅的气质和舞步可是相得益彰。既然两人都平分秋色，大赛决定实行双冠军。这可激怒了二人，他们当场斗殴，把赛场弄得一片混乱——当然，后果严重极了。他们被取消了终身的比赛资格。 　　两个滑冰王子从此上不了赛场，各自谋生，状况相当黯淡。二人的内心还是想收复失地，卷土重来，然而禁赛规定又让他们无计可施。可是，转机到了，他们发现可以建立起一对男子双人滑组合，就可以重归赛场。这无疑意味着，查兹和吉米要最大限度的化解宿仇，冰释前嫌，在二人组里默契配合，才能重现赛场辉煌。 　　果然，祛除心病后，这对组合屡屡出奇制胜，在赛场上的表现可谓笑料连连。

花样滑冰选手查兹·迈克尔与吉米·麦克埃罗在世界锦标赛上一言不和大打出手，因此被剥夺了金牌并处以终生禁赛的惩罚。三年半过去了，他们发现滑冰大赛的…

This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing. 　　Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity. 　　One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.

讲述残疾女青年刘云在父亲的鼓励下振作起来，重新树立起生活信心的感人故事。