陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

1935年，北平艺专摄影科学生吴鸿运在学生游行时对投身地下党的高海薇一见钟情，并为了爱情参军投身抗战。1937年7月7日，日军悍然炮轰宛平城，高团长 （高海薇父亲）为救吴鸿运而牺牲，满心愧疚的吴鸿运更加坚定了杀鬼子的决心，在共产党北平临工委骨干刘永祥的推荐下，吴鸿运和宋玉泉启程奔赴延安。途中得知八路军在平型关集结抵抗日军，毅然加入，吴鸿运凭借自己的机智，在攻打老爷庙的关键时刻立下战功，八路军最终取得“平型关大捷”。在吴鸿运、宋玉泉、高海薇等北平学生抵达延安后，延安领导命吴鸿运组建摄影队并担任摄影队的队长，宋玉泉担任警卫班的班长。两人先后向高海薇表明心迹，面对两个性格迥异的追求者，高海薇左右为难。为了赢得高海薇芳心，队长与班长间展开了激烈竞争，凡事都得争个高下。随后，吴鸿运和宋玉泉又一起编撰《前线》杂志、参加黄土岭战斗、攻打井陉煤矿、收编黑马队，两个情敌也在一路互相较劲中建立起了别样的战友友谊，一起为抗日战争的胜利做出了突出贡献 。

1935年，北平艺专摄影科学生吴大中在学生游行时对投身地下党的高海薇一见钟情，并为了爱情参军投身抗战。1937年7月7日，日军悍然炮轰宛平城，高团长（高海薇父亲）为救吴鸿运而牺牲，满心愧疚的吴鸿运更加坚定了杀鬼子的决心，在共产党北平临工委骨干刘永祥的推荐下，吴鸿运和宋玉泉启程奔赴延安。途中得知八路军在平型关集结抵抗日军，毅然加入，吴鸿运凭借自己的机智，在攻打老爷庙的关键时刻立下战功，八路军最终取得“平型关大捷”。在吴鸿运、宋玉泉、高海薇等北平学生抵达延安后，延安领导命吴鸿运组建摄影队并担任摄影队的队长，宋玉泉担任警卫班的班长。两人先后向高海薇表明心迹，面对两个性格迥异的追求者，高海薇左右为难。为了赢得高海薇芳心，队长与班长间展开了激烈竞争，凡事都得争个高下。随后，吴鸿运和宋玉泉又一起编撰《前线》杂志、参加黄土岭战斗、攻打井陉煤矿、收编黑马队，两个情敌也在一路互相较劲中建立起了别样的战友友谊，一起为抗日战争的胜利做出了突出贡献。

“信天翁号"这次要从百慕大的圣乔治港出发，预计八个月后抵达加拉帕戈斯群岛。船上的14位乘客是来自海洋学院的学生。他们的国籍不同，家庭出身背景也不一样，但在船长谢尔顿的带领下，很快学会海上生存必须的本领以及自律和相处的能力。然而就在航程即将结束的时候，他们遭遇到所有海员都闻之色变的无形飑--一秒钟内风速增加十几米。在白色的巨浪中，存活率据说只有万分之一...

Seb 要向女儿 Emma 宣布一个痛苦的消息——他和她母亲即将离婚。无奈之下，他只能说出真相：他喜欢男人。这消息对 Emma 而言如晴天霹雳，质疑与困惑瞬间涌上心头。为了让女儿理解自己，Seb 带着她回到了 2000 年。就在那一年，一场刻骨铭心的青涩恋爱，彻底改变了他的人生轨迹。

当 Seb 向女儿 Emma 宣布他和她母亲将要离婚这一痛苦的消息时，他不得不道出真相：他喜欢男人。这个消息对 Emma 来说犹如晴天霹雳，质疑与不解接踵而至。为了让女儿能够理解，他带着女儿回到了 2000 年，那一年，一段刻骨铭心的青涩恋情，彻底改变了他的人生。

本片是今年圣丹斯影展的开幕电影，这也是圣丹斯首次打破传统思维以一部记录片做为开幕片，影片由美国传奇人物、前“冲浪大王”斯泰西·佩拉塔执导，风格轻快灵动，娱乐性很强。

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought. 　　Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead. 　　Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences. 　　The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer. 　　Jean Cocteau is dead, long live Cocteau! 　　(James S. Williams)

以超现实的海洋巨浪和绚丽无比的岛屿风光将观众带入神秘的大溪地。高亮度的IMAX放映设备为您呈现这片人间乐土的3D奇观，巨大银幕配以特效眼镜将您卷入巨浪、推至海岸、带入海底……还在犹豫什么？带上家人一起去感受那冲浪的刺激吧！