爱伦坡、文森特·普莱斯、克里斯托弗李黄金组合，唯一的遗憾就是两个人对手戏太少了！伦敦发生了一起杀人事件，凶手竟然是已经死去的人？电影多线叙事节奏比较紧凑，结尾也有十分“普莱斯”的表演。电影缺点也有，除了几个穿帮镜头，主要还是VP跟Lee的对手戏太少！但喜欢两位演员的朋友必须得看这片，两个人单人戏份很足，何况能看一部是一部了。 （@拖延症字幕没有组）

爱伦坡、文森特·普莱斯、克里斯托弗李黄金组合，唯一的遗憾就是两个人对手戏太少了！伦敦发生了一起杀人事件，凶手竟然是已经死去的人？电影多线叙事节奏比较紧凑，结尾也有十分“普莱斯”的表演。电影缺点也有，除了几个穿帮镜头，主要还是VP跟Lee的对手戏太少！但喜欢两位演员的朋友必须得看这片，两个人单人戏份很足，何况能看一部是一部了。 （@拖延症字幕没有组）

It was a mix of photography and animation and it took up my whole vacation - sixteen hours a day. I analysed, through a film camera, a loop of thirty-six squarish black-and-white photographs representing a human being moving in a circle. What was the logic of my analysis? I decided to photograph the loop on film and repeat it thirty-six times. During every new repetition I divided the film window which I made in the shape of a square so that in every circle there was an increasing number of subdivisions; today I would say different resolutions. I put a white square of paper in the subdivisions where in the photograph there was a part of a figure; where there was not, I put a black square. I had to rearrange the white and black squares at least a hundred thousand times. On the lens I put a color filter, and then rotated it - but I don't want to bore you. What is most important about this is that not being aware of computer imaging - it was 1970, in Poland - I manufactured my own digitalê processing on film. Strange that I needed twenty-six years of work - including my work during all my next twenty five vacations - to come back to Kwadrat with full awareness and understanding of why.” 　　- Zbig Rybczynski

It was a mix of photography and animation and it took up my whole vacation - sixteen hours a day. I analysed, through a film camera, a loop of thirty-six squarish black-and-white photographs representing a human being moving in a circle. What was the logic of my analysis? I decided to photograph the loop on film and repeat it thirty-six times. During every new repetition I divided the film window which I made in the shape of a square so that in every circle there was an increasing number of subdivisions; today I would say different resolutions. I put a white square of paper in the subdivisions where in the photograph there was a part of a figure; where there was not, I put a black square. I had to rearrange the white and black squares at least a hundred thousand times. On the lens I put a color filter, and then rotated it - but I don't want to bore you. What is most important about this is that not being aware of computer imaging - it was 1970, in Poland - I manufactured my own digitalê processing on film. Strange that I needed twenty-six years of work - including my work during all my next twenty five vacations - to come back to Kwadrat with full awareness and understanding of why.” 　　- Zbig Rybczynski

人到中年的何大上是丽江束河古镇一家小旅馆的老板，他的老婆终日围绕着他，给他一种从头管到脚式的爱，何大上不知如何摆脱这样的束缚。一天清晨，他在河边拣到了一只顺水漂来的皮箱，箱子里的东西让他魂飞魄散……与此同时，生意清淡的小旅馆里却住进了一对怪异的夫妻，女人尤其神秘……何大上以为自己梦想的自由到来了，却不料从此陷入无尽的噩梦之中……

宋家宜，三十幾歲的台北中產階級，性格單純，遇事容易緊張。她一人平靜的生活著，等先生從國外回來。她的先生，出版社總編輯，到紐約工作半年，最後卻沒有回家，因為一樁意外死了。 　　三個月後，世界照常運轉，家宜正試圖從陰霾走出，重建一種平靜。生活的外貌沒變，跟她先生活著的時候幾乎沒有不同，但是死亡卻在這時忽然回來叩門，向他展開一場持續的侵擾與鞭苔。 　　小葉是出版社的美編，個性善良但討厭麻煩，包括愛情在內，凡是不喜歡想太多的年輕人。他原本只是半被迫半好心的送回總編的東西給家宜，卻將自己的生活丟進一個莫名其妙、他自己也不懂為什麼的境況。

宋家宜，三十幾歲的台北中產階級，性格單純，遇事容易緊張。她一人平靜的生活著，等先生從國外回來。她的先生，出版社總編輯，到紐約工作半年，最後卻沒有回家，因為一樁意外死了。 　　三個月後，世界照常運轉，家宜正試圖從陰霾走出，重建一種平靜。生活的外貌沒變，跟她先生活著的時候幾乎沒有不同，但是死亡卻在這時忽然回來叩門，向他展開一場持續的侵擾與鞭苔。 　　小葉是出版社的美編，個性善良但討厭麻煩，包括愛情在內，凡是不喜歡想太多的年輕人。他原本只是半被迫半好心的送回總編的東西給家宜，卻將自己的生活丟進一個莫名其妙、他自己也不懂為什麼的境況。

Star Film 155

Star Film 155

Star Film 547-549