当两个陌生人在咖啡馆里对视时，他们都要面对意想不到的感觉。

当两个陌生人在咖啡馆里对视时，他们都要面对意想不到的感觉。

已人过中年的少年鉴别所法务技官夏目信人（椎名桔平 饰），在人生的平稳期突然转职，成为东池袋警署刑事课强行犯系的一名刑警。此举的肇因，或可追溯到十年之前降临在夏目一家的灾难之上。他和年龄相仿的福森诚一（松重丰 饰）、年龄比自己还小的前辈安达凉子（小野ゆり子 饰）统归系长菊池大雅（要润 饰）调派。东池袋区域娱乐事业兴盛，此地更成为黑白两道交汇、各种隐秘罪恶滋生的温床。弹丸之地，凶杀、抢劫、绑架等恶性事件接连发生，夏目一次次和同侪奔赴第一现场，追查真相的同时与躲在暗处的对手展开连番较量，而其命运也受到一连串事件的左右…… 　　本片根据药丸岳的原作小说改编。

已人过中年的少年鉴别所法务技官夏目信人（椎名桔平 饰），在人生的平稳期突然转职，成为东池袋警署刑事课强行犯系的一名刑警。此举的肇因，或可追溯…

本作は、亡き妻への思いを捨てきれない男と、その男に恋した女の物語。患者の話に耳を傾けてくれると評判の精神科医・貴志は、6年前に死んだ妻・薫のことを思ってむせび泣き、薬で精神を安定させる日々を過ごしていた。そんな彼のもとに患者としてやってきた女・綾子は立場を超えて貴志と気持ちを通い合わせるようになる。しかし綾子は、貴志の妻への断ち切れぬ思いや彼の息子の存在を知って嫉妬心にさいなまれ、薫の弟・茂に近付いていく。

本作は、亡き妻への思いを捨てきれない男と、その男に恋した女の物語。患者の話に耳を傾けてくれると評判の精神科医・貴志は、6年前に死んだ妻・薫のことを思ってむせび泣き、薬で精神を安定させる日々を過ごしていた。そんな彼のもとに患者としてやってきた女・綾子は立場を超えて貴志と気持ちを通い合わせるようになる。しかし綾子は、貴志の妻への断ち切れぬ思いや彼の息子の存在を知って嫉妬心にさいなまれ、薫の弟・茂に近付いていく。

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

Jean-Luc Godard did not attend the world premiere of his new film, ADIEU AU LANGAGE (GOODBYE TO LANGUAGE), at Cannes. But instead, he sent a letter in motion to Gilles Jacob and Thierry Fremaux, the directors of the Festival. 　　Made public the 21/05/2014.

这是一部关于美国国会图书馆的纪录片，从1989年起，美国国会图书馆每年都会选取25部电影归档保存，它们并非一定要是最好的作品，而是要能够广泛代表美国文化，体现美国电影的整体水平，展现美国波澜壮阔的历史进程。众多电影人讲叙那些电影被选取的原因和独特之处，又一部关于迷影文化的纪录片。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )