韩国演员姜栋元好莱坞首秀，他将主演好莱坞灾难片[洛杉矶海啸](Tsunami LA，暂译)，导演西蒙·韦斯特([古墓丽影])。该片拍摄成本5500万美元，围绕袭击洛杉矶的一场大海啸展开。影片已进入前期筹备阶段，明年3月开拍。

这部剧写的是1942年，在抗日战争最艰苦的一年，胶东地区遇到了海啸灾难，颗粒无收，根据地老百姓面临断粮危险。以宫明山为首的八路军运粮小分队，包括文书郭玉文，战士大老姜，通讯员小马等人接受了为根据地送粮的任务。一路上他们遇到了难以想象的困难，经历了土匪的骚扰，日寇的截击，国军的偷袭，小分队的战士几乎全部牺牲，最后终于将粮食安全地运达目的地。

这部剧写的是1942年，在抗日战争最艰苦的一年，胶东地区遇到了海啸灾难，颗粒无收，根据地老百姓面临断粮危险。以宫明山为首的八路军运粮小分队，包括文书郭玉文，战士大老姜，通讯员小马等人接受了为根据地送粮的任务。一路上他们遇到了难以想象的困难，经历了土匪的骚扰，日寇的截击，国军的偷袭，小分队的战士几乎全部牺牲，最后终于将粮食安全地运达目的地。

大自然灾难场面惊心动魄地呈现；一部好莱坞式的德国灾难电影，过足眼瘾，刺激之外，这部电影还给观众留下什么呢？ 　　全球的科学家都在努力研究开发新能源，资源丰富的海洋成了研究的首选；但是不遵循生态规律，贪得无厌，就会给地球带来巨大的灾难。 　　艾尔法气体公司在海底建立了开发新能源的基地；由罗伯特统一指挥，但贪图钱财，急功近利，采用爆炸的方法寻找新能源，不顾科学家的劝阻，谋杀了阻挠他的克里特，约翰想要查明克里特的死因，他与水文学家桑维亚闯入海底基地……罗伯特间谍身份暴露，引爆了所有的炸药，一场空前的海啸爆发…… 　　http://www.amazon.cn/mn/detailApp?qid=1206287920

大自然灾难场面惊心动魄地呈现；一部好莱坞式的德国灾难电影，过足眼瘾，刺激之外，这部电影还给观众留下什么呢？ 　　全球的科学家都在努力研究开发新能源，资源丰富的海洋成了研究的首选；但是不遵循生态规律，贪得无厌，就会给地球带来巨大的灾难。 　　艾尔法气体公司在海底建立了开发新能源的基地；由罗伯特统一指挥，但贪图钱财，急功近利，采用爆炸的方法寻找新能源，不顾科学家的劝阻，谋杀了阻挠他的克里特，约翰想要查明克里特的死因，他与水文学家桑维亚闯入海底基地……罗伯特间谍身份暴露，引爆了所有的炸药，一场空前的海啸爆发…… 　　http://www.amazon.cn/mn/detailApp?qid=1206287920

Los Angeles is depicted in 35 stationary shots, each 2 1/2 minutes long, in this non-narrative film. 　　Nearing the completion of El Valley Centro, I began planning an urban companion piece, Los, that was to be a portrait of Los Angeles. It seemed logical, for the politics of water certainly run from the Valley to the City. Los would have the same structure as El Valley Centro and would look and listen with the same intensity. The two films would be connected with the last shot of El Valley Centro pumping water out of the Valley over Wheeler Ridge while the first shot of Los would show Mulholland’s first spillway (still in use) bringing water into LA. 　　James Benning, December 2001 　　Conceptual-art portrait of Los Angeles County, comprising 35 two-minute shots of streams, hills, buildings, factories, gardens, highways, rivers, cattle, trains, people, the ocean, a cemetery, the skyline, policemen, back streets, a jail, soccer players… Bennings’ camera remains static, and in the absence of commentary the only sounds we hear are whatever’s audible in each of these places: snatches of dialogue, distant background music, the rumble of cars and trains. 　　Benning has been one of American leading avant-garde film-makers for over 20 years, but remains barely known by the wider cinemagoing public, especially abroad – partly because he doesn’t allow his works to be available on video. And while Los is no-one’s idea of ‘commercial’ film-making, Benning’s low profile is an indictment of the timid policies of our supposedly adventurous arthouses: this is much too fascinating a use of film for it to be relegated to art galleries. 　　Los can be taken as 35 short movies, each of them saying something about the county, each of them posing some question about Benning’s technique, providing Viewing becomes an active, enthralling experience – even when there’s apparently ‘nothing happening’ on screen. It soon becomes clear that the timing, order and contents of each image has been very precisely calculated, and in many cases it’s what we can’t see that’s the ‘subject’ of the shot. The penultimate shot is of ‘homeless people’, and at one point an unseen passerby exclaims “What the f*ck are you lookin’ at, stupid motherf*cker?” But there are no answers – everything about the film is a matter of subjective interpretation, and every response is equally valid. Benning’s gaze transforms the whole of ‘greater’ Los Angeles into a vast work of art, in the process making it even ‘greater’ still – and this is only the central part of a projected ‘Southern California’ trilogy. 　　The film is full of engrossing incidental details, cross-references, tantalising clues that might mean everything or nothing. Early one we see a DKNY advertising billboard owned by a company named ‘Outdoor Systems’, and this phrase sums up Benning’s real subject – the human and natural processes that combine to form the bizarre anomaly we know as LA: a huge cloud of dust rising from a brush fire; the evening lights of cars zooming along a six-lane highway; the flight path of a landing jet-plane. This is a game with specific rules of form (the length and horizon-lines of each shot are similar) and content (each shot must contain some aspect of human activity; each shot must be outdoors) and, finally, memory test. We’re exposed to each of the images for so long, that by the end, when Benning brings up a series of captions identifying the locations of each, we can run through the whole movie again, in our mind. 　　Needless to say, Los won’t be to all tastes – in today’s market-oriented climate, such a project necessarily runs the risk of ‘pretentiousness’ accusations – but it’s surprising how quickly you adjust to the film’s unique rhythms, and this is a very straightforward, accessible kind of experimentalism. In terms of an artist using cinema to express himself, it dwarfs almost all this year’s ‘conventional’ releases: if any film of 2001 can possibly change the way its audiences think about and view their world, it’s James Benning’s mysterious, majestic, magical Los.

Los Angeles is depicted in 35 stationary shots, each 2 1/2 minutes long, in this non-narrative film. 　　Nearing the completion of El Valley Centro, I began planning an urban companion piece, Los, that was to be a portrait of Los Angeles. It seemed logical, for the politics of water certainly run from the Valley to the City. Los would have the same structure as El Valley Centro and would look and listen with the same intensity. The two films would be connected with the last shot of El Valley Centro pumping water out of the Valley over Wheeler Ridge while the first shot of Los would show Mulholland’s first spillway (still in use) bringing water into LA. 　　James Benning, December 2001 　　Conceptual-art portrait of Los Angeles County, comprising 35 two-minute shots of streams, hills, buildings, factories, gardens, highways, rivers, cattle, trains, people, the ocean, a cemetery, the skyline, policemen, back streets, a jail, soccer players… Bennings’ camera remains static, and in the absence of commentary the only sounds we hear are whatever’s audible in each of these places: snatches of dialogue, distant background music, the rumble of cars and trains. 　　Benning has been one of American leading avant-garde film-makers for over 20 years, but remains barely known by the wider cinemagoing public, especially abroad – partly because he doesn’t allow his works to be available on video. And while Los is no-one’s idea of ‘commercial’ film-making, Benning’s low profile is an indictment of the timid policies of our supposedly adventurous arthouses: this is much too fascinating a use of film for it to be relegated to art galleries. 　　Los can be taken as 35 short movies, each of them saying something about the county, each of them posing some question about Benning’s technique, providing Viewing becomes an active, enthralling experience – even when there’s apparently ‘nothing happening’ on screen. It soon becomes clear that the timing, order and contents of each image has been very precisely calculated, and in many cases it’s what we can’t see that’s the ‘subject’ of the shot. The penultimate shot is of ‘homeless people’, and at one point an unseen passerby exclaims “What the f*ck are you lookin’ at, stupid motherf*cker?” But there are no answers – everything about the film is a matter of subjective interpretation, and every response is equally valid. Benning’s gaze transforms the whole of ‘greater’ Los Angeles into a vast work of art, in the process making it even ‘greater’ still – and this is only the central part of a projected ‘Southern California’ trilogy. 　　The film is full of engrossing incidental details, cross-references, tantalising clues that might mean everything or nothing. Early one we see a DKNY advertising billboard owned by a company named ‘Outdoor Systems’, and this phrase sums up Benning’s real subject – the human and natural processes that combine to form the bizarre anomaly we know as LA: a huge cloud of dust rising from a brush fire; the evening lights of cars zooming along a six-lane highway; the flight path of a landing jet-plane. This is a game with specific rules of form (the length and horizon-lines of each shot are similar) and content (each shot must contain some aspect of human activity; each shot must be outdoors) and, finally, memory test. We’re exposed to each of the images for so long, that by the end, when Benning brings up a series of captions identifying the locations of each, we can run through the whole movie again, in our mind. 　　Needless to say, Los won’t be to all tastes – in today’s market-oriented climate, such a project necessarily runs the risk of ‘pretentiousness’ accusations – but it’s surprising how quickly you adjust to the film’s unique rhythms, and this is a very straightforward, accessible kind of experimentalism. In terms of an artist using cinema to express himself, it dwarfs almost all this year’s ‘conventional’ releases: if any film of 2001 can possibly change the way its audiences think about and view their world, it’s James Benning’s mysterious, majestic, magical Los.

为了争夺新能源的开发和利用，全球的天然气公司都在不择手段地进行研发。德国的阿尔法天然气公司也不例外，为了测试最新能源甲烷合氧气的性能，公司的工作人员已经在海上连续作业了几个月。工程主管克拉姆里克不顾后果，坚持用炸药进行实验，维兰博士百般阻止不但没有起到作用，反而成了克拉姆里克等人的眼中钉。而于同时，环境委员会的调查员斯维亚也注意到了阿尔法公司最近异常的行为，执意对此事进行调查。 　　失意的维兰博士在船上受到排挤，去好友约翰所在的西尔特海岸度假。自从两年前女友因冲浪而意外丧生后，约翰一直无法从痛苦中解脱，打算去夏威夷度假重新开始。但没想到就在这个时候，维兰在西尔特被谋杀，约翰决心找出真凶。两天后，约翰收到了维兰发给他的定时邮件，得知了阿尔法公司违法的秘密以及维兰被谋杀的真相。恰巧斯维亚因调查来到了西尔特，二人决心去阿尔法公司的船上偷偷展开调查，以取得他们犯罪的证据。 　　刚到阿尔法公司的油轮上，克拉姆里克就发现了约翰和斯维亚的行踪，并把他们关进了封闭仓内。眼看氧气就要渐渐耗尽，二人充满了绝望。还好此时好心的麦克恩博士救了二人，才得以死里逃生。克拉姆里克的手下全副武装，约翰和斯维亚利用自己的机智和他们进行了一场恶战，但麦克恩博士却没能幸免于难，而克拉姆里克则乘坐飞机逃走了。得知阿尔法公司并没有按照要求往自己的账户上打入巨额资金，克拉姆里克十分生气，通过卫星引爆了海底的其他炸药。而其带来的结果将是引起巨大的海啸，西尔特也不能幸免。 　　约翰一面要回西尔特救自己的姐姐和家人，另一方面他还要想尽办法阻止海啸。凭借一个优秀冲浪手的经验，约翰和国家军事机关取得联系，希望在海底某一点引爆炸药能够分散海啸，从而避免灾害。国家机关全力配合，却不想这个时候约翰姐姐所驾驶的船只被克拉姆里克劫持。约翰在千钧一发之际救下了姐姐和家人，并成功地阻止了海啸。而在这个过程中，他和斯维亚也渐渐地产生了感情。

约翰（大卫•阿奎特 David Arquette 饰）是一位出卖自己的肉体来换取金钱的男妓。圣诞节快要到了，约翰拼了命的工作，外加借债，总算凑足了一笔钱。他决定要用这一笔钱来入住一间豪华的高级酒店，在每年一度的佳节里享受一下崇高的待遇。然而，让约翰感到无语的是，他藏着全部财产的鞋竟然不见了，所有和圣诞节有关的幻想都化为了泡影，在洋溢着节日气氛的大街上，约翰只能继续在寒冷中揽客。 　　唐纳（卢卡斯•哈斯 Lukas Haas 饰）是街上新来的男妓，初来乍到的他有着一股罕见的天真和乐观。唐纳喜欢上了桀骜不驯的约翰，而约翰却将他视为一个让他头疼的问题。