巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D 　　http://www.ejumpcut.org/archive/onlinessays/JC22folder/BrazilFilmUpdate.html 　　Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story. 　　Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz). 　　"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor. 　　The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D 　　http://www.ejumpcut.org/archive/onlinessays/JC22folder/BrazilFilmUpdate.html 　　Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story. 　　Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz). 　　"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor. 　　The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

蓝天白云，植被叠嶂。故事发生在不知过了几百年几千年后的地球。也不知道因为什么原因，人类文明消失殆尽。曾经的繁华都市变成废墟，高楼大厦依然矗立，但都被绿色植物所覆盖，成为了无生气的古文明建筑。某座摩天大厦，一名戴着面罩的男子鼓捣出一个铁箱子，里面藏着旧文明的东西。就在此时，天空中响起了引擎轰鸣声，一架悬停飞机出现在他的头顶上。男人见状不好，连忙迅速跑开，骑上停在一边的摩托夺路逃亡，而空中的飞机则紧追不舍，甚至发射了跟踪导弹。 　　追逐仍在继续，而今的地球仍然没有回复宁静……

蓝天白云，植被叠嶂。故事发生在不知过了几百年几千年后的地球。也不知道因为什么原因，人类文明消失殆尽。曾经的繁华都市变成废墟，高楼大厦依然矗立，但都被绿色植物所覆盖，成为了无生气的古文明建筑。某座摩天大厦，一名戴着面罩的男子鼓捣出一个铁箱子，里面藏着旧文明的东西。就在此时，天空中响起了引擎轰鸣声，一架悬停飞机出现在他的头顶上。男人见状不好，连忙迅速跑开，骑上停在一边的摩托夺路逃亡，而空中的飞机则紧追不舍，甚至发射了跟踪导弹。 　　追逐仍在继续，而今的地球仍然没有回复宁静……

地震袭来，五岁的顾念念被妈妈江宁护在废墟之下，妈妈咬破嘴唇喂她的 “红糖水”，是带着铁锈味的血。黑暗中，她却听见爸爸顾城冰冷的指令：“先救青青，江宁命硬，让她多等一会。” 妈妈用身体弓成桥，护住念念和腹中三月的胎儿，最终没能等来救援，而顾城转头便在镜头前扮演深情慈父，对小三林晓月和其女青青百般呵护。十年间，顾城锒铛入狱，尝尽苦果，念念在外公陪伴下慢慢长大。十五岁生日亦是妈妈忌日，她收到顾城从监狱寄来的忏悔信与微薄积蓄，随即得知他狱中自杀。念念煮了一碗纯粹的红糖水，烧了忏悔信，终于放下所有怨恨。那些浸着血的过往，终被时光温柔化解，她带着妈妈的爱，活成了向阳的模样，让甜意填满往后的岁月。

讲述天才建筑师沈浩然因跨江大桥坍塌案蒙冤入狱十年。出狱后，他隐姓埋名成为咖啡师，却被前妻赵淑婷以“补偿”为名再次拖入泥潭。前妻的未婚夫董万青——当年事故的真凶——步步紧逼，父母倒戈，沈浩然更遭受害者家属报复濒死。绝境中被童年挚友、豪门千金李书云所救。两人远赴伦敦开书店开启新生，而当年真相终于大白。当旧人再度寻来，沈浩然平静决绝：“沈浩然已经死了。” 这是一个关于背叛、救赎与重生的故事，讲述一个人如何在摧毁后重建生活，在灰烬中找到真正的光。

影片改编自杰斯·瓦尔特撰写的同名畅销书，故事发生在1962年的一个意大利海滨村庄，一个迷人的年轻人经营着一家没有客人光顾的旅馆，直到一天，一位从[埃及艳后]片场走出的美国新星彻底俘获了他的心。50年后的好莱坞，一个为顶级制片人工作、疲惫不堪的助手，陷入了这个意大利故事的魔力中，并为她自己找到了幸福的结局。

影片改编自杰斯·瓦尔特撰写的同名畅销书，故事发生在1962年的一个意大利海滨村庄，一个迷人的年轻人经营着一家没有客人光顾的旅馆，直到一天，一位从[埃及艳后]片场走出的美国新星彻底俘获了他的心。50年后的好莱坞，一个为顶级制片人工作、疲惫不堪的助手，陷入了这个意大利故事的魔力中，并为她自己找到了幸福的结局。