In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. 　　But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). 　　In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. 　　imdb comment

In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. 　　But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). 　　In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. 　　imdb comment

短片《嗨》改编于导演之前画的一本绘本，讲的是一天之中，从早到晚，有生命的和无生命的都在问候彼此，彼此的问候把整个世界串连了起来,这是平凡且美好的一天。

短片《嗨》改编于导演之前画的一本绘本，讲的是一天之中，从早到晚，有生命的和无生命的都在问候彼此，彼此的问候把整个世界串连了起来,这是平凡且美好的一天。

这是导演索尔·贝鲁佐·皮孔-里维埃的处女作，以克莱奥为第一视角讲述了一段夏日故事。她和女孩们跌入一场白日梦，里面有着神秘信号和秘密仪式。在好似印象派的图像中，克莱奥妹妹的死变得不再沉闷，而是被诗意的想象力环绕。记忆与现实的边界也不再清晰，你便也走进这场女孩们的叙事里。

这是导演索尔·贝鲁佐·皮孔-里维埃的处女作，以克莱奥为第一视角讲述了一段夏日故事。她和女孩们跌入一场白日梦，里面有着神秘信号和秘密仪式。在好似印象派的图像中，克莱奥妹妹的死变得不再沉闷，而是被诗意的想象力环绕。记忆与现实的边界也不再清晰，你便也走进这场女孩们的叙事里。

《嗨！2014》是庾澄庆、谢娜将加盟央视2014年新节目。据悉，这档在春节前夕播出的节目将既有脱口秀、又有综艺娱乐节目，主打轻松、快乐、时尚风。

《嗨！2014》由央视和天娱联手打造的音乐互动脱口秀。节目风格活泼幽默，它开创了全新的节目模式和风格，以“嗨聊”—嘉宾情境式访问和“嗨唱”—现场音乐互动为主要版块，并辅以创意无限的“开场秀”和趣味不断的“彩蛋秀”，是一档融潮流时尚文化与草根气质为一体、轻松愉快而充满创意的综艺脱口秀节目。