本片讲述了大学生白世贵毕业后回到家乡，错失了城里的工作后，克服重重阻碍，为村民们解决了积压的蘑菇、粮食种子的销路问题，获得了众人的信任，得到了父亲和女友的支持，自己也最终下定决心留在家乡，做一名村官儿的故事。

本片讲述了大学生白世贵毕业后回到家乡，错失了城里的工作后，克服重重阻碍，为村民们解决了积压的蘑菇、粮食种子的销路问题，获得了众人的信任，得到了父亲和女友的支持，自己也最终下定决心留在家乡，做一名村官儿的故事。

Since the death of Jesus, Mary Magdalene has withdrawn from the world. Her hair has turned white, she eats berries, drinks rain water and sleeps among the trees. Alone in the heart of the forest, she remembers her lost love. She looks for a way to find him. 　　—— 　　Under the rain, in the wind or in the mist, through forests and caves, little by little, one shot after the other, a deep mystery unfurls. A mystery which is as thick as the cloak that covers Mary Magdalene. Not Mary the great sinner nor the redeemed soul, but the great lover who stays loyal until the end to her passion for Christ. Is this the passion of a believer in God ? Or the one of a lover for a man ? Every cell of her body remembers their radiant encounter which has, since it happened, illuminated every single moment of her life. 　　Damien Manivel's cinematic creation wraps a nebulous aura around its viewers. It is as ascetic in the way it treats its subject as it is sensual in the way it makes us see things. It is particularly attentive to the bodies and to the materiality of space and time, which both carries and passes through every living creature. This dusky movie propels us into a primitive mystique which has nothing to do with candles, thuribles and « Our Father Who art in heaven » prayers, and in which nature and hallucinated visions make human faith go back to its original paganism. The filmmaker and his actress Elsa Wolliaston, whose expressivity is stunning, succeed in transfiguring the character of Mary Magdalene. Together they climb up the steep slopes of Love and Faith in beauty.

Since the death of Jesus, Mary Magdalene has withdrawn from the world. Her hair has turned white, she eats berries, drinks rain water and sleeps among the trees. Alone in the heart of the forest, she remembers her lost love. She looks for a way to find him. 　　—— 　　Under the rain, in the wind or in the mist, through forests and caves, little by little, one shot after the other, a deep mystery unfurls. A mystery which is as thick as the cloak that covers Mary Magdalene. Not Mary the great sinner nor the redeemed soul, but the great lover who stays loyal until the end to her passion for Christ. Is this the passion of a believer in God ? Or the one of a lover for a man ? Every cell of her body remembers their radiant encounter which has, since it happened, illuminated every single moment of her life. 　　Damien Manivel's cinematic creation wraps a nebulous aura around its viewers. It is as ascetic in the way it treats its subject as it is sensual in the way it makes us see things. It is particularly attentive to the bodies and to the materiality of space and time, which both carries and passes through every living creature. This dusky movie propels us into a primitive mystique which has nothing to do with candles, thuribles and « Our Father Who art in heaven » prayers, and in which nature and hallucinated visions make human faith go back to its original paganism. The filmmaker and his actress Elsa Wolliaston, whose expressivity is stunning, succeed in transfiguring the character of Mary Magdalene. Together they climb up the steep slopes of Love and Faith in beauty.

我是陛下微末时的糟糠妻，曾救他于危难，与他共患难，相守于阴县，以为觅得一生挚爱。然而，在他称帝后，我却被贬为贵人，而皇后之位另有其人。自此，我的记忆开始每日消退，那些与陛下相关的痛苦往事，如被孤身丢弃乱军、被罚跪皇后宫中思过、以及他“永不负你”的誓言，都逐渐被遗忘。我只记得，年少时曾嫁与一位温柔体贴的“阿郎”。谢皇后利用我的记忆缺失，公然羞辱我，命我跳舞，却意外揭示了我腿上被火烧伤的赫赫伤疤，更提起了当年皇上为救皇后而将我遗弃在乱军中的“佳话”，记忆的抹去，让我不再恨他，却也让他永远失去了我的谅解，只留下一个痛彻心扉的帝王，在雨夜中狼狈地呼唤：“宛娘，别忘了我。”

Menkes’ spellbinding, formally inventive first feature follows detached sex worker Ida (Tinka Menkes) through the bars, flophouses and swimming pools of East Los Angeles as she moves inextricably towards an unexpected spiritual awakening. Blending poetry by Anne Sexton, Mary Daly and Gertrude Stein, with allusions to Catholicism and mediaeval witch hunts, this stylish and slow-burning psycho-noir builds to a spectacular denouement.

上集 　　锦儿与男友大学毕业后留在上海工作，锦儿就职于一家网络公司，男友文辉做科研，一日锦儿与客户谈判，因口红留在杯上，客户公司CEO陈灿留意，陈灿过后对锦儿说其口红太差，像她这样的女孩可以拥有更多更好的东西，锦儿与男友去选口红，因口红太贵，放弃了购买，文辉说以后要亲自为锦儿研制一种口红…… 　　下集 　　锦儿与陈灿接触，逐渐被陈灿吸引。锦儿与男友痛苦分手，准备与陈灿结婚，但意外的发现陈灿背后还有一位女人，锦儿原谅了他，但陈灿却不愿失去富裕的生活，当晚离开锦儿。 　　锦儿回到了以前的生活，一日在街头发现一则宣传广告“锦儿口红”和上面自己的照片，泪如雨下……于是她给制片商打去了电话，详询此事……

Menkes’ spellbinding, formally inventive first feature follows detached sex worker Ida (Tinka Menkes) through the bars, flophouses and swimming pools of East Los Angeles as she moves inextricably towards an unexpected spiritual awakening. Blending poetry by Anne Sexton, Mary Daly and Gertrude Stein, with allusions to Catholicism and mediaeval witch hunts, this stylish and slow-burning psycho-noir builds to a spectacular denouement.

上集 　　锦儿与男友大学毕业后留在上海工作，锦儿就职于一家网络公司，男友文辉做科研，一日锦儿与客户谈判，因口红留在杯上，客户公司CEO陈灿留意，陈灿过后对锦儿说其口红太差，像她这样的女孩可以拥有更多更好的东西，锦儿与男友去选口红，因口红太贵，放弃了购买，文辉说以后要亲自为锦儿研制一种口红…… 　　下集 　　锦儿与陈灿接触，逐渐被陈灿吸引。锦儿与男友痛苦分手，准备与陈灿结婚，但意外的发现陈灿背后还有一位女人，锦儿原谅了他，但陈灿却不愿失去富裕的生活，当晚离开锦儿。 　　锦儿回到了以前的生活，一日在街头发现一则宣传广告“锦儿口红”和上面自己的照片，泪如雨下……于是她给制片商打去了电话，详询此事……

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