2007年，世界尤其是中国忙于迎接08年的奥运大事，而香港学生最重视的战役——中五会考在即，但九个少年男女却茫然站在成人与小孩的关卡，于网络、短讯、物欲横流的虚拟与残酷现实中迷惘；尽管他们躁动又脆弱的心灵惺惺相惜，并在烈日下坦然寻求青春专属的爱与自由。 　　因为一条手机短片，九个朋友由互相依赖演变成互有芥蒂，由互相维护发展至互相猜疑；于是，逐渐瓦解的友谊、一触即破的爱情、家庭的羁绊，死与生的冲击等，在那一瞬间磨蚀着青春的菱角，也将少年由放浪的自由国度拉回现实社会，而七人也各自找寻着属于自己的青春答案，寻找着青春的出口。

故事发生在2007年的香港。在迎接08年奥运的大环境下，影片讲述一群临近中五会考的中学生之间有关成长的青春故事。一部手机短片，一连串的荒谬事件，引发了九个少男少女之间的矛盾冲突。本来的信任依赖，渐渐发展成了彼此的猜忌与摩擦。站在懵懂与长大的十字路口，这些孩子们面对着友情与爱情的双重考验。而随之而来的家庭问题和现实世界的真实残酷，九位少年又当如何应对？青春的故事有很多，影片用幽默跳脱的手法细细讲来。 　　《烈日当空》是由曾志伟监制的两岸三地“九降风”系列同名电影的香港篇。

《太阳》以近未来的日本为舞台，描写了只能在夜晚生活的新人类与在太阳下生活的旧人类之间的对立和融合，是一部追寻生存意义的人情派作品。

《太阳》以近未来的日本为舞台，描写了只能在夜晚生活的新人类与在太阳下生活的旧人类之间的对立和融合，是一部追寻生存意义的人情派作品。

二战末期，轴心国败局已定，作为“邪恶轴心”一员的日本更面临巨大危机。亚太战场节节失利，两颗原子弹进一步摧毁了日本人的心理防线。作为日本最高统帅的裕仁天皇（尾形一成 饰），此时此刻面临着痛苦的抉择。 　　黑云压城城欲摧，这个身形瘦小的男人，他的内心世界无人能近…… 　　本片为俄罗斯导演亚历山大•索科洛夫“20世纪统治者三部曲”（亦作“统帅三部曲”）中的第三部，前后制作共花费8年时间，影片被评为2005年亚美尼亚埃里温国际电影节最佳影片。

二战末期，轴心国败局已定，作为“邪恶轴心”一员的日本更面临巨大危机。亚太战场节节失利，两颗原子弹进一步摧毁了日本人的心理防线。作为日本最高统帅的裕仁天皇（尾形一成 饰），此时此刻面临着痛苦的抉择。 　　黑云压城城欲摧，这个身形瘦小的男人，他的内心世界无人能近…… 　　本片为俄罗斯导演亚历山大•索科洛夫“20世纪统治者三部曲”（亦作“统帅三部曲”）中的第三部，前后制作共花费8年时间，影片被评为2005年亚美尼亚埃里温国际电影节最佳影片。

柏林电影节奇遇单元

Sole is the first film by the great Alessandro Blasetti and bears a complex relationship to the reclamation of the Pontine Marshes, a seminal event in Fascist political history. Sole is also an important document in Italian film history. Its use of non-professional actors and location shooting began the movement away from studio spectacle and historical costume epic toward Italian film realism. Along with Blasetti's later film 1860 (1934), Sole includes many of the cinematic and humanistic traits of neorealism and underscores Blasetti's role as one of its progenitors. 　　Background 　　The film's subject is the massive, highly visible bonifica integrale ("integrated reclamation") project undertaken in 1929 by Mussolini to drain the Pontine marshes, located on the Appian Way some 30 miles southeast of Rome, between Anzio and Terracina. The marshes were a malarial swamp populated by a culturally rich but politically powerless native people, and therefore regarded as ripe for reclamation. 　　The project aimed to replace the marshes with productive farmland and rural housing, and was a Fascist poster for public works and the "rural vocation of the Italian people". Settlers were provided with a standarized two-storey farmhouse of blue stucco with tiled roof, an oven, a plough, agricultural tools, a stable, some cows and several hectares of land. Mussolini was regularly photographed shirtless with workers and farmers, tool in hand, for inclusion in propaganda newsreels. 　　Mussolini spearheaded the legislation, thereafter known as "Mussolini's Law". Work began in 1929, the year that Sole was made, and involved as many as 100,000 workers. Workers were paid poorly, interned in barbed wire camps with minimal care and sanitation, and malaria was rampant. Although Fascist agrarian ideals would have transformed the natives from primitive swamp dwellers to productive farmers, in fact, due to their unreliable politics, the natives were evicted and the five planned towns were populated with reliable supporters from strongly Fascist Northern Italy. 　　Ironically, Anzio at the north end of the filled marshes later served as the Allied beachhead for a planned flank attack on German forces and a march on the "Open City" of Rome. To impede this, Germans turned off the drainage pumps to reflood the marsh, hoping to create a malarial net for the invaders. As a result, Allied and German soldiers fought malaria as well as each other, agriculture was devastated, houses were commandeered or destroyed, and the population was driven out. The area was physically devastated, undoing Il Duce's accomplishments. 　　The film 　　Sole has a complex relation to the Fascist project it documents. Outwardly it's a paeon to Fascist engineering and values such as the will toward progress, rural agrarian development, cultural homogenization and a positivistic spin on the "eternal conflict between civilization and regression". Mussolini reportedly admired the film in a private screening before its release. But the film resides ambiguously between Fascist values and a neo-realist appreciation for local culture and sympathy for the displaced swamp people and reclamation workers. Like 1860, Sole has non-professional actors, location shooting and a populist point of view, traits that were heralded 20 years later in La Terra Trema as the foundation of neorealism. 　　The film offered here is the only known fragment – the first reel containing 265 m (about 9 minutes) of the original 76 mintues. The original negative was destroyed by the Nazis during the Roman occupation of 1943-1944. 　　Sources: 　　http://en.wikipedia.org/wiki/Pontine_Marshes 　　http://en.wikipedia.org/wiki/Battle_of_Anzio 　　http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html 　　http://histclo.com/country/it/reg/cent/lat/ircl-pont.html 　　http://www.nytimes.com/2008/09/22/world/europe/22marsh.html 　　Images: 　　http://covblogs.com/eatingbark/archives/2008/09/pontine_marshes.html 　　http://www.hks.harvard.edu/fs/rzeckhau/The_Five_Neglects.ppt 　　http://log.doggerland.net/page/11/ 　　http://histclo.com/country/it/reg/cent/lat/ircl-pont.html 　　(filmnutz)

太阳《脚踏实地》纪录片电影