洛杉矶一名年轻黑客被引诱盗取一名毫无戒心的女子的银行账户。

洛杉矶一名年轻黑客被引诱盗取一名毫无戒心的女子的银行账户。

主题曲为李香兰演唱的《河上的月色》

“乌溜溜的黑眼珠，和你的笑脸，怎么也难忘记你，容颜的转变；轻飘飘的旧时光，就这么溜走，转头回去看看时，已匆匆数年……”仿佛罗大佑为影片谱写的插曲，是真的那么刻骨铭心。 　　恋曲谱在90年代，十年之后，两对爱人在苏州河重聚，已经各自另有一段生活，时间像河水，静静在流淌，来回几句话，流露的不也是勿忘的爱？

这是一部纪录片，纪录了葡萄牙多罗河横穿波尔多市的时候两岸的情景；有工人们卸船、装船的场面，女工劳动时的气氛，同时也记录了多罗河上的桥梁与缓缓流动的河水。写实却不乏浪漫，充满生活旨趣。 　　奥利维拉作为导演的第一部作品，受瓦尔特鲁特曼《柏林：城市交响曲》影响，用父亲购买的摄影相机拍摄而成。本片受巴罗斯助理导演发掘而得到放映，成为了这一时期葡萄牙电影的代表作。

根据Riccardo Bacchelli同名小说改编的电影 　　该片片段出现在《天堂电影院》中

The unforgettable hero of Les quatre cents coups (The 400 Blows), Jean-Pierre Léaud made a spectacular entrance into the world of cinema at the age of 14. And to this day, it’s fair to say he’s never left. Truffaut, Godard, Eustache, Pasolini but also more recently Assayas, Lvovsky, Kaurismäki, Bertolucci, Tsai Ming-liang, Bonello or Serra... an impressive filmography in which he has invented a new way of being in front of the camera, where everything is true and everything is fiction. So much so that one might almost have a doubt: does Jean-Pierre Léaud really exist off- screen? Or does he belong entirely to cinema?

The unforgettable hero of Les quatre cents coups (The 400 Blows), Jean-Pierre Léaud made a spectacular entrance into the world of cinema at the age of 14. And to this day, it’s fair to say he’s never left. Truffaut, Godard, Eustache, Pasolini but also more recently Assayas, Lvovsky, Kaurismäki, Bertolucci, Tsai Ming-liang, Bonello or Serra... an impressive filmography in which he has invented a new way of being in front of the camera, where everything is true and everything is fiction. So much so that one might almost have a doubt: does Jean-Pierre Léaud really exist off- screen? Or does he belong entirely to cinema?

李春天直到38岁依然未婚，父母朋友都担心她一直“剩”下去，让她参加过不少相亲活动，春天也考虑过身边的同事，却依旧单身。一次意外的汽车追尾，让李春天和梁冰相遇，二人不打不相识，成了一对见面就斗个不停的冤家。由于工作的机会，梁冰和李春天的接触越来越多，从互相较劲的冤家变成了朋友。李春天的姐姐李思扬也在此时结束了自己国外那场失败的婚姻，回国生活，而当年苦苦追求思扬的张一男却即将与李春天的好姐们刘青青结婚。从小就受宠的思扬也注意到了条件甚好的梁冰，有意让李春天介绍，却遭到梁冰婉拒。梁冰是对李春天有所动心吗？梁冰内心藏着太多不为人知的秘密，让这段爱情愈发波折……