Songwriter Dion McGregor became famous in the 1960s for narrating his dreams in his sleep. His flatmate recorded him doing so. 　　In their new film somniloquies, Lucien Castaing-Taylor and Verena Paravel overcome the boundaries between inner dreamscapes and human bodies. At the start, flowing forms can be seen and a gentle, undefinable sound made out in the background. McGregor's voice appears and makes an invitation: “I have expected you, come-on in, I said I would grant an interview”. The more we listen to him and enter into his dreamworld, the clearer the contours of the sleeping bodies become, before they seem to dissipate once again. The dreaming man speaks with people who are sawing open his body, removing his organs and stitching him back up. As we find out how painful he finds the stitches, we ask ourselves for how long we’ll want to follow the camera, which sometimes seems to caress the bodies tenderly, but at other times seeks to pierce them almost brutally, like an x-ray. Just in time, we hear his voice: "Let’s go to future land (…) it’s shining near the corner". In this case, sleeping in the cinema means pushing forward to its very limits. (berlinale 2017)

Songwriter Dion McGregor became famous in the 1960s for narrating his dreams in his sleep. His flatmate recorded him doing so. 　　In their new film somniloquies, Lucien Castaing-Taylor and Verena Paravel overcome the boundaries between inner dreamscapes and human bodies. At the start, flowing forms can be seen and a gentle, undefinable sound made out in the background. McGregor's voice appears and makes an invitation: “I have expected you, come-on in, I said I would grant an interview”. The more we listen to him and enter into his dreamworld, the clearer the contours of the sleeping bodies become, before they seem to dissipate once again. The dreaming man speaks with people who are sawing open his body, removing his organs and stitching him back up. As we find out how painful he finds the stitches, we ask ourselves for how long we’ll want to follow the camera, which sometimes seems to caress the bodies tenderly, but at other times seeks to pierce them almost brutally, like an x-ray. Just in time, we hear his voice: "Let’s go to future land (…) it’s shining near the corner". In this case, sleeping in the cinema means pushing forward to its very limits. (berlinale 2017)

When a language dies, a unique vision of the world is lost forever.

When a language dies, a unique vision of the world is lost forever.

本片是導演捕捉沖繩「被返還」後風景的嘗試，純粹拍攝來往的人們、動物與地貌風景，呈現盈滿沖繩未盡之戰的視覺和嗅覺記憶，並以8mm膠卷嗅錄那股關於死亡的氣息。受到約拿斯・梅卡斯《追憶立陶宛之旅》的啟發，本片的非敘事結構和間歇的慢動作鏡頭，就像是超越既視感的視覺詩篇。

The seven stages in the life of the modern Frenchwomen are disclosed by seven directors in a witty way: 1 - Childhood, 2 - Adolescence, 3 - Virginity, 4 - Marriage, 5 - Adultery, 6 - Divorce, 7 - The Single Woman.

这个片子带给人的最大惊喜就是演裴欣桐的谢玲玲。这个早年脱胎于琼瑶片童星的谢玲玲，确实美得惊人。她给人一种惊艳的感觉，高贵、明艳、大方。虽然她在影片中的角色并不讨好，但是她的光芒仍然几乎遮盖了林青霞。当她一身白衣，若有若无地弹着吉他时，恍如行云流水。很可惜，就我所见，她只出演了琼瑶的两部电影，并且都是配角。前有林青霞，后有吕秀菱，谢玲玲有如流星，惊天一划，便杳无音信了。 林清霞和秦祥林演得也都比较出色，另一个亮点是扮演陆超的马永霖。他把陆超的狠、酷、潇洒、不羁都表演得入木三分。不得不再说一次：马永霖是个很称职的演员。

刘灵珊（林青霞 饰）是一名老师，一次偶然中，她结识了名叫楚楚（赖怡君 饰）的女孩，以及楚楚的父亲韦鹏飞（秦祥林 饰）。韦鹏飞告诉刘灵珊，楚楚的母亲裴欣桐（谢玲玲 饰）早年抛弃了他们父女二人，这段悲伤的经历打动了单纯善良的刘灵珊，她和韦鹏飞之间的距离越来越近，最终坠入了爱河。 　　不顾家人的反对，刘灵珊毅然决心嫁给韦鹏飞，然而，热恋的幸福渐渐淡去之际，一本《爱桐杂记》揭露了韦鹏飞深藏在心底的，对于前妻的爱恋。裴欣桐的存在让刘灵珊和韦鹏飞之间的感情产生了裂缝，与此同时，楚楚和刘灵珊之间的关系也渐渐变得水火不容起来。

刘灵珊（赵艳红 饰）是一名老师，一次偶然中，她结识了名叫楚楚（杨津 饰）的女孩，以及楚楚的父亲韦鹏飞（陈剑飞 饰）。韦鹏飞告诉刘灵珊，楚楚的母亲裴欣桐（宋佳 饰）早年抛弃了他们父女二人，这段悲伤的经历打动了单纯善良的刘灵珊，她和韦鹏飞之间的距离越来越近，最终坠入了爱河。 　　不顾家人的反对，刘灵珊毅然决心嫁给韦鹏飞，然而，热恋的幸福渐渐淡去之际，一本《爱桐杂记》揭露了韦鹏飞深藏在心底的，对于前妻的爱恋。裴欣桐的存在让刘灵珊和韦鹏飞之间的感情产生了裂缝，与此同时，楚楚和刘灵珊之间的关系也渐渐变得水火不容起来。

刘灵珊（赵艳红 饰）是一名老师，一次偶然中，她结识了名叫楚楚（杨津 饰）的女孩，以及楚楚的父亲韦鹏飞（陈剑飞 饰）。韦鹏飞告诉刘灵珊，楚楚的母亲裴欣桐（宋佳 饰）早年抛弃了他们父女二人，这段悲伤的经历打动了单纯善良的刘灵珊，她和韦鹏飞之间的距离越来越近，最终坠入了爱河。 　　不顾家人的反对，刘灵珊毅然决心嫁给韦鹏飞，然而，热恋的幸福渐渐淡去之际，一本《爱桐杂记》揭露了韦鹏飞深藏在心底的，对于前妻的爱恋。裴欣桐的存在让刘灵珊和韦鹏飞之间的感情产生了裂缝，与此同时，楚楚和刘灵珊之间的关系也渐渐变得水火不容起来。