安静的小院里，慈祥的大狗史派克正在为宝贝儿子泰克唱摇篮曲。伴着父亲的歌声，泰克进入甜蜜的梦乡。史派克对儿子关爱有加，甚至都不希望小鸟的歌声打扰儿子的睡眠。可是，这个世上偏偏有两个不知趣的家伙经常破坏他们父子的生活。没错，他们就是汤姆和杰瑞——一对从早到晚都在追跑打闹的欢喜冤家。汤姆在追杀过程中不慎打到史派克，结果吓醒了泰克，而泰克受到惊吓后不断打嗝。愤怒的史派克警告并赶走了汤姆，然后继续哄儿子睡觉。 　　可是，汤姆和杰瑞的帐还没算清呢！他们俩继续上演追逐战，在这一过程中，泰克不断被吓醒打嗝，这一切都让史派克郁闷不已……

安静的小院里，慈祥的大狗史派克正在为宝贝儿子泰克唱摇篮曲。伴着父亲的歌声，泰克进入甜蜜的梦乡。史派克对儿子关爱有加，甚至都不希望小鸟的歌声打扰儿子的睡眠。可是，这个世上偏偏有两个不知趣的家伙经常破坏他们父子的生活。没错，他们就是汤姆和杰瑞——一对从早到晚都在追跑打闹的欢喜冤家。汤姆在追杀过程中不慎打到史派克，结果吓醒了泰克，而泰克受到惊吓后不断打嗝。愤怒的史派克警告并赶走了汤姆，然后继续哄儿子睡觉。 　　可是，汤姆和杰瑞的帐还没算清呢！他们俩继续上演追逐战，在这一过程中，泰克不断被吓醒打嗝，这一切都让史派克郁闷不已……

影片翻拍自1999年的丹麦同名电影《初恋从打嗝开始》。 　　高一新生维多（戴文·沃克海瑟 Devon Werkheiser 饰）喜欢上了高二女生安雅（丝柯·泰勒-考普顿 Scout Taylor-Compton 饰）。可安雅已和开着保时捷名车的彼得在交往。而维多的好友托奇与尼可莱都不支持他追安雅。某日,维多鼓起勇气邀请安雅参加班级舞会,安雅的死党吉蒂也鼓噪大伙同去。舞会上维多拼命打嗝，安雅开玩笑说如果维多再打嗝，她会强行献吻，结果维多真的停止了。维多无意间听到彼得买通吉蒂设计让安雅失身的消息,遂决心制止。但谁知导致全面失控,彼得自尊受到打击，也使得安雅大吃一惊。原来，安雅的弟弟布莱恩是维多弟弟艾斯本的同学，两人暗地里编导着一部“爱情灾难片”的拍摄作品。内容是关于维多不幸的爱情遭遇，以及如何浩劫重生。而最终维多是否真的可以赢得安雅的芳心？

维克多（罗伯特·汉森 Robert Hansen 饰）是一个缺乏自信个性腼腆的少年，这样的他偏偏喜欢上了学校里的校花级女生安雅（苏菲·拉森卡尔赫 Sofie Lassen-Kahlke 饰），更糟糕的是，安雅已经有了一个正在交往的富二代男朋友皮特（Joachim Knop 饰），目睹皮特每日威风凛凛地驾驶着他的保时捷穿梭于校园之中，维克多明白在这场爱情争夺战里自己的胜算几乎为零。 　　尽管与情敌的实力过于悬殊，再加上死党托奇（Karl Bille 饰）和尼克莱（Jonas Gülstorff 饰）的强烈反对，但维克多仍然无法了却自己对安雅的爱恋。一次偶然中，维克多获得了难得的机会邀请安雅参加一场舞会，在舞会上，紧张的维克多不停的打嗝，逗得安雅直乐呵，两人之间的距离迅速缩短了。

《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)