巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D 　　http://www.ejumpcut.org/archive/onlinessays/JC22folder/BrazilFilmUpdate.html 　　Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story. 　　Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz). 　　"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor. 　　The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

一栋公寓深夜时突然发生火警爆炸，期后发现了一具烧焦女尸属于年轻女生言贞（邓丽欣 饰）。言贞死了，世上还有一位叫林音的女人。二人除了外貌出奇相似，性格、背景却完全没有任何关连，但她们偏偏爱上了同一个男人——卢路（刘以豪 饰）。一切都看似是一场意外，背后却埋藏了一段跨越十多年的爱恨交缠。卢路与言贞是青梅竹马的朋友，十多年前意外把言贞母亲杀死。弥天之罪没被揭发，命运始终迫使两人分开。十多年后，言贞、卢路再次在大城韍里遇上，她发现卢路的现任女友林音，跟自己的样子出奇相似，一场有预谋的谋杀掀起了序幕……言贞被意外烧死后，卢路发现枕边人林音开始变得不寻常，一种既熟悉又陌生的感觉，不时在心中想着她是谁？一宗离奇命案，两段吊诡的命运，揭开了复杂的人性对决与最后救赎……

一栋公寓深夜时突然发生火警爆炸，期后发现了一具烧焦女尸属于年轻女生言贞（邓丽欣 饰）。言贞死了，世上还有一位叫林音的女人。二人除了外貌出奇相似，性格、背景却完全没有任何关连，但她们偏偏爱上了同一个男人——卢路（刘以豪 饰）。一切都看似是一场意外，背后却埋藏了一段跨越十多年的爱恨交缠。卢路与言贞是青梅竹马的朋友，十多年前意外把言贞母亲杀死。弥天之罪没被揭发，命运始终迫使两人分开。十多年后，言贞、卢路再次在大城韍里遇上，她发现卢路的现任女友林音，跟自己的样子出奇相似，一场有预谋的谋杀掀起了序幕……言贞被意外烧死后，卢路发现枕边人林音开始变得不寻常，一种既熟悉又陌生的感觉，不时在心中想着她是谁？一宗离奇命案，两段吊诡的命运，揭开了复杂的人性对决与最后救赎……

어머니로부터 모텔을 물려받은 경숙. 　　그 묘한 분위기의 모텔에는 금요일 오후 두 시만 되면 　　어김없이 두 남자가 경쟁하듯 503호만을 찾는다. 　　중년 남 ‘수민’과 또 다른 남자 ‘배관공’이 그 주인공. 　　중후함을 풍기는 ‘수민’에게 관심이 가는 경숙은 　　그가 왜 같은 시간에 혼자서 같은 룸만 찾는지 궁금해진다. 　　호기심을 못이긴 그녀는 마침내 503호에 CCTV를 설치하는데…

《白昼之恋》讲述在大学相识的杨熙和毕龙，在经过19年的很长时间流逝后，偶然再相遇而发生的故事。

어머니로부터 모텔을 물려받은 경숙. 　　그 묘한 분위기의 모텔에는 금요일 오후 두 시만 되면 　　어김없이 두 남자가 경쟁하듯 503호만을 찾는다. 　　중년 남 ‘수민’과 또 다른 남자 ‘배관공’이 그 주인공. 　　중후함을 풍기는 ‘수민’에게 관심이 가는 경숙은 　　그가 왜 같은 시간에 혼자서 같은 룸만 찾는지 궁금해진다. 　　호기심을 못이긴 그녀는 마침내 503호에 CCTV를 설치하는데…

私生女今雾以为傅聿臣是自己的白月光，而现实的一幕幕，教她认清了现实。遇见段时焰后，今雾发现他们之间有太多的巧合，殊不知那些所有看似不经意的巧合， 都是段时焰的蓄谋已久的暗恋。

离家出走的女孩重回物是人非的故土。在记忆里和现实中，她寻找着属于自己的模糊地带。