The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. 　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. 　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. 　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. 　　by D.R. [email protected]

Enriched by cinematography as remarkable as the filmmaker's work on Zaynê Akyol's Rojek, this documentary by director Arshia Shakiba situates viewers amid the oil refineries in Syria's war-ravaged north, a landscape that may seem post-apocalyptic but lives in our ever-more alarming present.

Enriched by cinematography as remarkable as the filmmaker's work on Zaynê Akyol's Rojek, this documentary by director Arshia Shakiba situates viewers amid the oil refineries in Syria's war-ravaged north, a landscape that may seem post-apocalyptic but lives in our ever-more alarming present.

In an attic full of discarded junk, a pretty doll called Buttercup lives in an old trunk together with her friends, the marionette Sir Handsome, the lovable Teddy Bear, a Mechanical Mouse and the plasticine creature, Laurent. When Buttercup is snatched and taken off to the Land of Evil, her pals set out on a wondrous and daring adventure to rescue her from the all-powerful Head of State.

因出演美剧《大群》而被观众熟知的奥布瑞-普拉扎主演，一位创作陷入僵局的女电影来到乡村静养，试图从喧嚣的过去中寻找慰藉，然而没有想到身边的树林正以…

「型子」瑣事人人理，「宅男」心事又有誰知？紀錄片一分為二。上集主角加賀，廿三歲大好青年，卻害怕與人溝通，又怕接觸女兒家，於是長年潛藏家中，與世隔絕，閒時對剪報女星幻想幻想，連面對心儀女孩也羞於表白，失禮失禮。導演決定幫他壯壯膽，逼他參與AV拍攝，要他「痛失」處子身，做個真正男子漢？！下集主角梅澤，人如其名，還要更「宅」，家徒四壁，四壁卻盡是漫畫和明星海報，但原來情根深種，自小暗戀一過氣女明星。導演再作馮婦，迫令梅澤自拍生活點滴，小小「宅男」只望影片首映時偶像能抽空出席，有幸一睹偶像芳容．．．瘋狂「劇情」、爆笑「演繹」。喂喂喂，各位型男索女，你們之前沒有這麼「宅」過嗎？ 　　*2008英國倫敦Raindance電影節參展電影 　　香港亞洲獨立電影節2008 　　A young yet acclaimed documentary director best known for his Annyong-Kimchi, Tetsuaki Matsue documents the dim-witted stories of two Otaku (people isolated themselves from society with obsessive interests, particularly anime, manga, and video games) in his latest documentary The Virgin Wildsides. Kaga, Matsue’s friend who is still a cherry boy at the age of 23, is his first “victim”. Having no physical touch with any girls at all in his life and being afraid of confessing to his dream girl, he is persuaded by Matsue to star in a pornographic video in order to relieve him of his virginity and to step into adulthood…… In Volume 2, Kaga the victim turns himself into an “accomplice” entrapping his friend Umezawa into another hilarious documentary of Otaku. A manga lunatic and pop-star follower, Umezawa has built a shrine in his bedroom, walled by nothing but comic books, to a retired celebrity, and was convinced by Matsue to film a film of himself in order to see his obsession face to face in reality. However dealing with a dim and serious topic, The Virgin Wildsides is certainly in a light and enlightening approach, entertaining enough to make you burst into laughter. 　　*Official Selection, Raindance Film Festival 2008 　　Hong Kong Asia Independent Film Festival 2008 　　http://www.spopro.net/virgin_wildsides/

随着社会步入超高龄化阶段，独居老人数量持续增多，同时结婚率和出生率下降。为应对这些状况，艾德迩市的政府成立了“公宅与大龄事务局”，并推出新住房政策，其中包括禁止单身人士购买公共住房，还允许收养单身老人。婚礼前一天，“公宅与大龄事务局”员工明珍发现未婚夫出轨。为避免损失公寓定金，明珍收养了73岁的欧盛德。但二人生活习惯和性格大不相同，搬进同一住所后冲突不断。明珍的中学学长、34岁的司徒梓阳是“公宅与大龄事务局”的顾问，负责长者婚介部门。他注重客户的精神和情感匹配度，所以成功率低于同事。父母去世、妹妹结婚后，他决定收养婚介失败的老人。他的两位养母刘郑婉瑜和钟忆莲喜欢打麻将，总盼着梓阳再收养老人凑齐麻将桌。后来他收养了最近失去儿子、左手瘫痪的70岁李寻开。

随着社会步入超高龄化阶段，独居老人数量持续增多，同时结婚率和出生率下降。为应对这些状况，艾德迩市的政府成立了“公宅与大龄事务局”，并推出新住房政策，其中包括禁止单身人士购买公共住房，还允许收养单身老人。婚礼前一天，“公宅与大龄事务局”员工明珍发现未婚夫出轨。为避免损失公寓定金，明珍收养了73岁的欧盛德。但二人生活习惯和性格大不相同，搬进同一住所后冲突不断。明珍的中学学长、34岁的司徒梓阳是“公宅与大龄事务局”的顾问，负责长者婚介部门。他注重客户的精神和情感匹配度，所以成功率低于同事。父母去世、妹妹结婚后，他决定收养婚介失败的老人。他的两位养母刘郑婉瑜和钟忆莲喜欢打麻将，总盼着梓阳再收养老人凑齐麻将桌。后来他收养了最近失去儿子、左手瘫痪的70岁李寻开。

Eager to land a journalistic position, Adam White goes to work as an advice-giving newspaper columnist. His editor, Shrike, takes pleasure in browbeating his alcoholic wife Florence for her past adultery, and assigning his employees journalistic jobs for which they have little aptitude or interest. Shrike goads Adam into meeting one of his correspondents, Fay Doyle, a teary, self-pitying woman who makes a play for him. Adam is torn between his loyalty to the newspaper and his girl Justy.

该剧改编自刘汽水的小说《春心陷阱》，讲述了李言喻和周意在青春期不欢而散，多年之后以成年人的姿态重逢的故事。