学生时代的江曼笙一直暗恋着陆祈臣，但由于陆祈臣不记得她的名字，且江曼笙性格胆小，始终未能向他表白。毕业后，江曼笙以为两人再无交集，却意外发现家人安排他们相亲。江曼笙果断答应与陆祈臣结婚，但婚后两人分房居住，陆祈臣对她只有责任感。江曼笙将暗恋心事深埋心底，然而在日复一日的相处中，陆祈臣逐渐对江曼笙产生了真挚的感情。

学生时代的江曼笙一直暗恋着陆祈臣，但由于陆祈臣不记得她的名字，且江曼笙性格胆小，始终未能向他表白。毕业后，江曼笙以为两人再无交集，却意外发现家人安排他们相亲。江曼笙果断答应与陆祈臣结婚，但婚后两人分房居住，陆祈臣对她只有责任感。江曼笙将暗恋心事深埋心底，然而在日复一日的相处中，陆祈臣逐渐对江曼笙产生了真挚的感情。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

一次偶然中，透子（深田恭子 饰）结识了名为勇次（堂本刚 饰）的职业拳击手，对勇次一见钟情的透子想方设法打听到了勇次的工作地点，就此对勇次展开了热烈的追求。可是，勇次心里喜欢的却是自己的老板香织（原沙知绘 饰），心中隐藏着强烈的爱情的勇次对透子的付出视而不见。 　　拳击新人王大赛即将开幕，透子不仅积极的为勇次加油打气，更是扮演起了保姆加营养师的角色。意外中，勇次发现自己患上了拳击手的职业病——视网膜脱落，而不致于失明的唯一方法就是离开拳击台。深深热爱的拳击事业的勇次隐瞒了自己的病情却还是在不经意间为透子所知，看着透子焦急的极力劝阻自己参加比赛的模样，勇次的内心里泛起了奇妙的感情。

一次偶然中，透子（深田恭子 饰）结识了名为勇次（堂本刚 饰）的职业拳击手，对勇次一见钟情的透子想方设法打听到了勇次的工作地点，就此对勇次展开了热烈的追求。可是，勇次心里喜欢的却是自己的老板香织（原沙知绘 饰），心中隐藏着强烈的爱情的勇次对透子的付出视而不见。 　　拳击新人王大赛即将开幕，透子不仅积极的为勇次加油打气，更是扮演起了保姆加营养师的角色。意外中，勇次发现自己患上了拳击手的职业病——视网膜脱落，而不致于失明的唯一方法就是离开拳击台。深深热爱的拳击事业的勇次隐瞒了自己的病情却还是在不经意间为透子所知，看着透子焦急的极力劝阻自己参加比赛的模样，勇次的内心里泛起了奇妙的感情。