中国奇谭《乡村巴士带走了王孩儿和神仙》长片版。

中国奇谭《乡村巴士带走了王孩儿和神仙》长片版。

麦克斯和Ru这对夫妇乘坐飞机前往旧金山旅行，飞行途中丈夫阅读乔诺博士撰写的著作《Forensic Science》，麦克斯对其中关于十二宫杀手的论述部分十分着迷。少顷飞机降落，夫妻二人走出机场，却没有等到来接站的朋友莱斯利。这时一辆私家车停在他们面前，司机自称是莱斯利的朋友，因对方临时有事而代替朋友前来接站。妻子毫无防备地上了车，而麦克斯却还未从探案气氛中抽离出来，他觉得眼前的司机如此可疑，很可能就是传说中的十二宫杀手。 　　刚刚还是阳光普照的旧金山，突然间狂风大作，暴雨倾盆，麦克斯夫妇的心情也跌到了谷底……

[谍影重重]系列导演保罗·格林格拉斯有望执导，描述美国禁酒探员埃利奥特·尼斯新片[尼斯](Ness，暂译)。尼斯曾把臭名昭著黑手党阿尔·卡朋绳之以法，影史经典[铁面无私]便改编于此。“绿草”版本将由[洛城机密]编剧布莱恩·海尔格兰德执笔剧本，讲述后卡朋时期尼斯负责的一起连环杀人案。

[谍影重重]系列导演保罗·格林格拉斯有望执导，描述美国禁酒探员埃利奥特·尼斯新片[尼斯](Ness，暂译)。尼斯曾把臭名昭著黑手党阿尔·卡朋绳之以法，影史经典[铁面无私]便改编于此。“绿草”版本将由[洛城机密]编剧布莱恩·海尔格兰德执笔剧本，讲述后卡朋时期尼斯负责的一起连环杀人案。

96年的<<小猪哼哼>>,是我曾经看过的最可爱的国产动画片. 　　主题曲也很可爱,"哼哼小宝贝,哼哼小宝贝,哼哼是个小宝贝..."虽然有些弱智，但却是我最纯真的回忆． 　　导演是陈家奇,从事动画创作二十余载,系列片《小猪哼哼》总导演，获金童奖优秀动画片奖. 　　可惜我搜索半天一点介绍的资料都没有,图片更是见不着.

96年的<<小猪哼哼>>,是我曾经看过的最可爱的国产动画片. 　　主题曲也很可爱,"哼哼小宝贝,哼哼小宝贝,哼哼是个小宝贝..."虽然有些弱智，但却是我最纯真的回忆． 　　导演是陈家奇,从事动画创作二十余载,系列片《小猪哼哼》总导演，获金童奖优秀动画片奖. 　　可惜我搜索半天一点介绍的资料都没有,图片更是见不着.

Paris, 1315. The Tour de Nesle, a guard tower on the banks of the Seine, has become a symbol of mystery and fear. Each morning, at its base, the bodies of handsome young aristocrats are found floating in the river, all butchered by sword or arrow. One evening, two noblemen, Buridan and Philippe d'Aulnay, find themselves in the infamous tower, lured there on the expectation of a night of unbridled passion. Little do they realise that they are to be the next victims of a woman who is determined to take revenge against all men - Margaret of Burgundy, the present Queen of France. Although Philippe is killed, Buridan escapes, and intends to blackmail the Queen. Unless she makes him her prime minister, he will expose her crimes to Philippe's brother and her husband, King Louis X. When she moves to eliminate Burdan, Margaret makes a terrible discovery... 　　In the twilight years of his long and pretty uneven career, the great avant-garde film director Abel Gance made a number of films which, whilst not as grand and artistically inspired as his early silent masterpieces (La Roue (1923), Napoléon (1927)), still compared very favourably with the work of his contemporaries. 　　Of these, La Tour de Nesle is a film that still stands up remarkably well today - an ambitious historical drama based on the famous 1832 play by Alexandre Dumas. It makes a nice companion piece to Gance's subsequent historical romp, Cyrano et d'Artagnan (1964). 　　 　　Needless to say, the film isn't to be commended on its historical accuracy. As any historian will tell you, the Alexandre Dumas version of French history is wildly fanciful, to say the least. However, this doesn't prevent La Tour de Nesle from being an entertaining and, at times, highly poignant, piece of cinema. 　　Whilst the characterisation and dialogue leave much to be desired, the plot (a murky tale of cruel revenge and political intrigue) is gripping, and the film's artistic design is exceptional for a film of this period. Gance brings a strangely expressionistic touch to his use of colour and shade, something which adds to the darkly sinister nature of the plot, whilst imbuing the film with a striking sense of historical realism. A propos, Gance's assistant director Nelly Kaplan makes her screen début in a small role, shortly before she herself embarked on a successful film making career.

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses

BONA loves Gardo. Gardo loves Gardo. Gardo loves going to bed with almost any woman he can attract. Once - apparently in the absence of anyone better - he even takes Bona to bed, but by the next morning, the matter seems to have slipped his mind. 　　Bona is a grave-looking woman who drops out of school to pursue her crush on the narcissistic Gardo by moving in with him, more as a servant than anything else. Gardo, in the estimation of Bona's enraged father, is either a second- or third-rate actor in Philippine action movies. 　　Bona (Nora Aunor) and Gardo (Philip Salvador) are the central figures in ''Bona,'' a film from the Philippines directed by Lino Brocka, whose publicity describes him as a prolific film maker and likens him to Rainer Werner Fassbinder. 　　Prolific he may be, but, while technically unobjectionable, ''Bona,'' which opens today at the Film Forum, fails to shed much light on the wellsprings of Bona's obsessive love for Gardo. A young woman's attraction and devotion to a sleazily handsome actor are understandable, and so at first it not surprising that Bona is willing to fetch water so that Gardo can have warm baths; that she scrubs his floors and mends his clothes and cooks for him in the house they share in a poor neighborhood. 　　But right from the start, it is also clear that Gardo is not exactly a flawless jewel of humanity: he is beaten up by the relatives of one of his women; he is a drunk; he brings home an assortment of other women; he disappears for extended periods; he leaves it to Bona to arrange an abortion for one of his lovers, and finally - after Bona has been essentially disowned by her family - Gardo informs her that he is selling the house they share and going off with another woman. 　　About five minutes of Gardo would be enough to make most people explode. But it takes Bona about 90 minutes. And since she seems reasonably intelligent and sensitive and is alert from the outset to Gardo's slights, the writing and direction of ''Bona'' must be faulted for failing to supply dramatically valid explanations for her patience. 　　''Bona'' is chiefly interesting as an example of Philippine film making and for its glimpses of life in the neighborhood where Bona and Gardo live. 　　Philippine Glimpses