小康是无用之人，在车水马龙中高举广告招牌维生，即便狂风暴雨亦屹立不摇。他举牌、点烟、尿尿，再举牌、点烟、尿尿，任车阵喧嚣从身旁呼啸而过。小康的生命中只有两个孩子，他们一起吃饭、一起刷牙、一起更衣，一起蜷曲着入睡。他们缺乏水电，总是在同一张破旧床垫上，伴着一颗高丽菜相拥而眠。整座城市彷佛都成了野狗咆哮游荡的废墟，河流也更遥远了。一个暴雨交加的夜晚，小康决定带上两个孩子，一同出航。

小康是无用之人，在车水马龙中高举广告招牌维生，即便狂风暴雨亦屹立不摇。他举牌、点烟、尿尿，再举牌、点烟、尿尿，任车阵喧嚣从身旁呼啸而过。小康的生命中只有两个孩子，他们一起吃饭、一起刷牙、一起更衣，一起蜷曲着入睡。他们缺乏水电，总是在同一张破旧床垫上，伴着一颗高丽菜相拥而眠。整座城市彷佛都成了野狗咆哮游荡的废墟，河流也更遥远了。一个暴雨交加的夜晚，小康决定带上两个孩子，一同出航。

电影作品讲述了时隔60年再次前往故乡南海进行友情旅行的两位老奶奶和长期守护故乡生活的爷爷之间的故事。

儿子何宇航每次都将错了一道题的试卷贴在探监室厚厚的玻璃上，只为和父亲多说两句话，打破沉默。父亲教儿子解题，二人跟随父亲解题过程，进入了父亲的想象世界。他们穿梭隧道，却发现试卷外的难题永远无法解开。

《郊游》(THE OUTING)是一个系列，通过三个家庭的叙事，讲述了人们在聚会上相遇的故事，这三个家庭管理着一家顶级广告公司，该公司即将进入股市筹集大笔资金。Anan、Phupha和Taurus带着他们的家人和公司的亲密员工去度假。在那里，二十二个对爱情有不同看法的人的黑暗秘密和关系被揭示。有稳定、嫉妒和误解的问题。最后每个人都为了自己的目标选择背叛自己的爱人。一年一度的郊游将不再一样。 　　"THE OUTING" is a series that tells a story of people who meet at parties through the narrative of three families that manage a top advertising agency that is about to enter the stock market to raise a large fund. Anan, Phupha and Taurus take their families and close employees in the company for an annual outing at a resort. 　　There, the dark secrets of twenty-two people with different views on love and relationships are revealed. There are issues of stability, jealousy and misunderstanding. In the end, everyone chooses to betray their lovers for their own goals. The annual outing will never be the same.

《郊游》(THE OUTING)是一个系列，通过三个家庭的叙事，讲述了人们在聚会上相遇的故事，这三个家庭管理着一家顶级广告公司，该公司即将进入股市筹集大笔资金。Anan、Phupha和Taurus带着他们的家人和公司的亲密员工去度假。在那里，二十二个对爱情有不同看法的人的黑暗秘密和关系被揭示。有稳定、嫉妒和误解的问题。最后每个人都为了自己的目标选择背叛自己的爱人。一年一度的郊游将不再一样。 　　"THE OUTING" is a series that tells a story of people who meet at parties through the narrative of three families that manage a top advertising agency that is about to enter the stock market to raise a large fund. Anan, Phupha and Taurus take their families and close employees in the company for an annual outing at a resort. 　　There, the dark secrets of twenty-two people with different views on love and relationships are revealed. There are issues of stability, jealousy and misunderstanding. In the end, everyone chooses to betray their lovers for their own goals. The annual outing will never be the same.

World cinema has never been short of films about alienated teenagers, but it’s extremely rare to find one so consistently well-observed as School Trip, an enormously promising debut from director Winckler, who co-wrote the script with Stefan Kriekhaus. Their sympathetic understanding of the rhythms and details of adolescent life recalls Lukas Moodysson’s Fucking Amal – School Trip is very strong on the children’s sudden jealousies and friendships, the harsh insider/outsider dynamics of teenage cliques, their self-contained worlds designed to shut out blundering adults – the teacher “in charge” is a spectacularly ineffectual, peripheral, pretty much irrelevant figure. 　　But while Moodysson tricked up his movie with a distracting reliance on clumsy zooms and a wobbly hand-held camera, Winckler plays it mercifully straight. As the bald, informative title suggests, this isn’t a project that calls out for visual flash, sand Winckler’s strengths lie elsewhere – principally in his handling of his young cast. He shows a rare knack with actors, from the tiniest bit part to the three main leads, and he conjures a sensational performance out of Sperling. 　　His Ronny is a sustained feat of characterisation, mostly internalised, but also packed full of amusing, revealing bits of business – the ‘solo ping pong’ scene is worth the price of admission on its own. This is a young man who moves between being the class clown, an idiot-savant, an artistic-genius-in-embryo, and a would-be sociopath – sometimes all in the same scene. His young face obscured by a bum-fluff moustache and encroaching sideburns, it’s hard to tell his exact age, but he’s more mature than the rest of the gang - his biggest problem isn’t that he doesn’t think enough, it’s that he thinks far too much, although he actually says very little, and when he does speak it’s largely to voice his contempt for these ‘jerks.’ He’s so sardonic, in fact, that we can probably take the slogan emblazoned across the back of his cheap nylon jacket, ‘Free Spirits Party Place’ as an intentional bit of irony on his part. 　　It’s no accident that one of the museum trips see the bored-to-tears class being told about the habits of ‘an early stone age tribe.’ They endure the tedious lecture – only Ronny has the nerve to actually do something about it. He’s also the only one who has enough ambition and daring to break free of the resort’s dismal confines and explore the wider world, if only for a few hours, just as he’s careful to liberate a wasp that’s flown into one of the hotel rooms and keeps buzzing against the window, anxious for freedom. 　　What Ronny finds out there is sufficiently weird and funny (in an excellent hitch-hiking scene) to make breaking free seem like the only sensible option, even if the other kids see his tendency to ‘run away’ as a weakness. By the end, however, things aren’t so clear-cut – events take a tragic (though admirably unsentimental) turn, forcing Ronny into a searching self-examination and ending the film on a sober, satisfyingly ambiguous note, even as the credits roll to the upbeat racket of raucous Polish rock. Winckler could do worse than to return to this character, and this actor, in future years – Ronny could turn out to be the 21st century’s Antoine Doinel, and then some.

何宇航每次都将错了一道题的试卷贴在探监室厚厚的玻璃上，只为和父亲多说两句话，打破沉默。父亲教儿子解题，二人跟随父亲解题过程进入父亲的想象世界。他们穿梭隧道，祭祀神明，却发现试卷外的难题永远无法解开。

World cinema has never been short of films about alienated teenagers, but it’s extremely rare to find one so consistently well-observed as School Trip, an enormously promising debut from director Winckler, who co-wrote the script with Stefan Kriekhaus. Their sympathetic understanding of the rhythms and details of adolescent life recalls Lukas Moodysson’s Fucking Amal – School Trip is very strong on the children’s sudden jealousies and friendships, the harsh insider/outsider dynamics of teenage cliques, their self-contained worlds designed to shut out blundering adults – the teacher “in charge” is a spectacularly ineffectual, peripheral, pretty much irrelevant figure. 　　But while Moodysson tricked up his movie with a distracting reliance on clumsy zooms and a wobbly hand-held camera, Winckler plays it mercifully straight. As the bald, informative title suggests, this isn’t a project that calls out for visual flash, sand Winckler’s strengths lie elsewhere – principally in his handling of his young cast. He shows a rare knack with actors, from the tiniest bit part to the three main leads, and he conjures a sensational performance out of Sperling. 　　His Ronny is a sustained feat of characterisation, mostly internalised, but also packed full of amusing, revealing bits of business – the ‘solo ping pong’ scene is worth the price of admission on its own. This is a young man who moves between being the class clown, an idiot-savant, an artistic-genius-in-embryo, and a would-be sociopath – sometimes all in the same scene. His young face obscured by a bum-fluff moustache and encroaching sideburns, it’s hard to tell his exact age, but he’s more mature than the rest of the gang - his biggest problem isn’t that he doesn’t think enough, it’s that he thinks far too much, although he actually says very little, and when he does speak it’s largely to voice his contempt for these ‘jerks.’ He’s so sardonic, in fact, that we can probably take the slogan emblazoned across the back of his cheap nylon jacket, ‘Free Spirits Party Place’ as an intentional bit of irony on his part. 　　It’s no accident that one of the museum trips see the bored-to-tears class being told about the habits of ‘an early stone age tribe.’ They endure the tedious lecture – only Ronny has the nerve to actually do something about it. He’s also the only one who has enough ambition and daring to break free of the resort’s dismal confines and explore the wider world, if only for a few hours, just as he’s careful to liberate a wasp that’s flown into one of the hotel rooms and keeps buzzing against the window, anxious for freedom. 　　What Ronny finds out there is sufficiently weird and funny (in an excellent hitch-hiking scene) to make breaking free seem like the only sensible option, even if the other kids see his tendency to ‘run away’ as a weakness. By the end, however, things aren’t so clear-cut – events take a tragic (though admirably unsentimental) turn, forcing Ronny into a searching self-examination and ending the film on a sober, satisfyingly ambiguous note, even as the credits roll to the upbeat racket of raucous Polish rock. Winckler could do worse than to return to this character, and this actor, in future years – Ronny could turn out to be the 21st century’s Antoine Doinel, and then some.

JEUXhttp://www.mtime.com/my/100233        很久很久以前，其实也没那么久啦，在某个地方有家医院。那里住着几个奇怪的病人：成年后没法顺利转型的昔日童星“室町”（妻夫木聪饰）、被消防车撞到的消防队员“泷田”（剧团一人饰）、狂迷翁倩玉的人妖“木之元”（国村隼饰）、满身枪伤的黑道人士“龙门寺”（山内圭哉饰）、不知来历的怪人“堀米”（阿部隆史饰）……那里不光病人怪，医生和护士也不太正常。大夫“浅野”（上川隆也饰）喜欢模仿小飞侠，护士“玉子”（土屋安娜饰）言语粗暴，另一个护士“雅美”（小池荣子饰）是个超级财迷，亚美的老公“浩一”（加濑亮饰）傻得可爱……在这群怪人里，和大家格格不入的是曾经白手起家建起大公司如今却得了绝症的老爷爷“大贯”（役所广司饰）。大贯态度倨傲，一不满意就骂人，医生护士都不喜欢他，其他病人也对他敬而远之。        这天，一个叫帕高的女孩（威尔逊·绫香饰）坐到了大贯常坐的长凳上。她开心地读着每天都读的图画书：“呱呱、呱呱，青蛙王子是个任性王子”，并且要大贯和他一起读。大贯讨厌有人占据属于他的长凳，和帕高起了冲突。可第二天这个小丫头又像没事人一样坐在了上面。有一次，大贯发现帕高拿了他遗落的纯金打火机，一怒之下，扇了她一巴掌。        后来大贯得知，帕高出过车祸，从此之后就只有一天的记忆了。她是一个到了明天就会忘记今天的女孩。她不知道双亲已在车祸中去世，每天早晨都把放在枕边的图画书当成是妈妈给她的生日礼物，看了又看。她忘了打火机是前一天捡到的，以为那是属于自己的东西。        知悉原委后，大贯很内疚。为了表示歉意，碰了碰帕高的脸颊，不料帕高竟然说：“老爷爷，你昨天也碰了帕高的脸吧！”没有昨日记忆的帕高竟然记得大贯？！偏偏是大贯，而不是其他人！偏偏是那个扇了她一个耳光而不是碰了碰她脸颊的大贯！        由此，大贯开始质疑自己一直以来的生活方式——我是不是一直在逼迫别人？我是不是太自我中心了？！。看着快快乐乐读图画书的帕高，大贯生平第一次留下了眼泪。为什么我的眼泪流个不停啊？浅野大夫回答他：“那还不简单，等你哭够了眼泪就不流了。”        时日已不多的大贯觉得应该为帕高做点什么。他希望能在这个孩子的心里留下自己的痕迹。于是，大贯想出了一个点子——在医院的夏日圣诞庆祝会上把帕高的图画书《青蛙王子大战小龙虾魔人》演成舞台剧！       一向没人缘的大贯的提议遭到了大家的反对。特别讨厌演戏的室町说：“这有什么意义啊？何必为一个马上就会忘掉的小孩子演戏啊？！”孤立无援的大贯却不愿放弃这个想法。渐渐地大家被他感动了。被他掐过脖子的木之元，和他吵过架的龙门寺，讨厌演鳉鱼的玉子、根本没角色的堀米、对演技没自信的室町……大家都加入了进来。        圣诞大戏开场了，青蛙王子、小龙虾魔人等这些图画书上的角色竟然活灵活现地出现在了帕高眼前。在梦想成真的那一刻，奇迹降临了……