北京的胡同，這裡似乎是一個中心，但是計程車司機的收入卻不及這個城市該有的收入水準。 　　成都，生活出了名的閒適和散淡，而這裡的計程車卻逃不過辛勞，也因此，單單一個會吹薩克斯風的司機便讓我們感受到可能只有這裡才能提供的情調。 　　臺北，計程車也有藍綠之爭，而六十多歲的原住民司機還想著賺錢給子女，為了讓他們能經常來探望自己，也就能多見到孫子孫女。 　　香港，很多計程車司機同時是義交，在管與被管之間，他們能得到什麼樣的滿足？ 　　“To learn about a city, you should learn about its taxi drivers first.” is a very common but quite representative vocation. Since the taxi drivers contact with largest number of people, they are the ones most familiar with urban life. This film describes money and life in the eyes of taxi drivers in five representative metropolises in the Greater China Region. 　　获奖情况： 　　2008年 入圍第1屆溫哥華亞洲電影節

北京的胡同，這裡似乎是一個中心，但是計程車司機的收入卻不及這個城市該有的收入水準。 　　成都，生活出了名的閒適和散淡，而這裡的計程車卻逃不過辛勞，也因此，單單一個會吹薩克斯風的司機便讓我們感受到可能只有這裡才能提供的情調。 　　臺北，計程車也有藍綠之爭，而六十多歲的原住民司機還想著賺錢給子女，為了讓他們能經常來探望自己，也就能多見到孫子孫女。 　　香港，很多計程車司機同時是義交，在管與被管之間，他們能得到什麼樣的滿足？ 　　“To learn about a city, you should learn about its taxi drivers first.” is a very common but quite representative vocation. Since the taxi drivers contact with largest number of people, they are the ones most familiar with urban life. This film describes money and life in the eyes of taxi drivers in five representative metropolises in the Greater China Region. 　　获奖情况： 　　2008年 入圍第1屆溫哥華亞洲電影節

凯瑟琳 （Catherine） 是一位包容性天主教合唱团的母亲和合唱团指挥，她将如何成为凯茜 （Cathy），并着手通过为残疾人提供性陪伴来征服快乐。

一个叫托马斯（ 迪伦·奥布莱恩 饰）的男孩在电梯中醒来，他发现自己失忆了，除了名字什么都记不得。当电梯打开，他来到了一个陌生的地方“林间空地”（ The Glade）。这里四周被高大的石头墙包围着，墙外有一群巨大的怪兽威胁着墙内人们的生命。墙内住着50位男孩，他们都被困在了绵延不绝的迷宫森林当中。一天，电梯为他们送来了一个女孩特雷莎（ 卡雅·斯考达里奥 饰），她是来到“林间空地”的第一个女孩。此后，迷宫逐渐开始发生变化，一切都陷入了混乱中，托马斯和特雷莎决定一起走上破解迷宫之路，找出迷宫背后令人不寒而栗的秘密。

一个叫托马斯（ 迪伦·奥布莱恩 饰）的男孩在电梯中醒来，他发现自己失忆了，除了名字什么都记不得。当电梯打开，他来到了一个陌生的地方“林间空地”（ The Glade）。这里四周被高大的石头墙包围着，墙外有一群巨大的怪兽威胁着墙内人们的生命。墙内住着50位男孩，他们都被困在了绵延不绝的迷宫森林当中。一天，电梯为他们送来了一个女孩特雷莎（ 卡雅·斯考达里奥 饰），她是来到“林间空地”的第一个女孩。此后，迷宫逐渐开始发生变化，一切都陷入了混乱中，托马斯和特雷莎决定一起走上破解迷宫之路，找出迷宫背后令人不寒而栗的秘密。

After the death of his brother Georg, John Vanderheit expects to inherit his fortune. Unfortunately, just before he died Georg made a will in which he bequeathed his entire estate to his wife, Irmgard. Unwilling to yield to John, Irmgard takes flight and undertakes a hazardous journey into the mountains. Here, she meets a kindly hermit who offers her shelter. John is not far behind, however, and when Imrgard repulses him he causes an avalanche in an attempt to kill her. Trapped in the hermit’s shelter, Irmgard’s new friend removes his hood – and reveals that he is her husband Georg... 　　Das Wandernde Bild marked the beginning of the fruitful collaboration of director Fritz Lang with writer Thea von Harbou. They married in 1922 and the couple would become the creative force behind some of the greatest German films of the pre-WWII era, works such as Dr. Mabuse, der Spieler (1922), Metropolis (1927) and M (1931). 　　Until quite recently, Das Wandernde Bild was thought to have been lost, the fate suffered by the majority of films made in the silent era. Fortunately, an incomplete print surfaced in Brazil and the film was partially restored in the late 1980s. Around a third of the film is missing, along with the script and inter-titles. Despite this, the restored film is surprisingly coherent and the lacuna are hardly noticed. 　　Das Wandernde Bild may not be Lang at his best (its main weaknesses being its slightly ludicrous plot and some embarrassing Perils of Pauline moments), but it amply demonstrates the director’s mastery of technique and flair for expression through the silent image. The film is most memorable for its beautifully realised location sequences, which appear to show the influence of Lang’s contemporaries, notably D.W. Griffith. (© James Travers 2009 )