同母异父的姊妹凯琪和宜娟，在父母车祸死亡后便相依为命，两人在性格和人生道路上走向了不同道路。当宜娟和身为建筑师的丈夫大伟结婚，满心期待自己生命里的第一个小孩时，因为惯性自残与精神疾病，疗养甚久的凯琪也出院了，将要迎接崭新生活。看似就要好转的人生，却在姊妹重逢后急转直下，宜娟流产且凯琪莫名失踪。面对这接连而来的噩耗与打击，宜娟一路探查，希望能找出谜底的解答，与此同时，凶恶的鬼魅也向她袭来，逼使她须与时间赛跑，同时见证到人性的善与恶，如何反复辩证……

同母异父的姊妹凯琪和宜娟，在父母车祸死亡后便相依为命，两人在性格和人生道路上走向了不同道路。当宜娟和身为建筑师的丈夫大伟结婚，满心期待自己生命里的第一个小孩时，因为惯性自残与精神疾病，疗养甚久的凯琪也出院了，将要迎接崭新生活。看似就要好转的人生，却在姊妹重逢后急转直下，宜娟流产且凯琪莫名失踪。面对这接连而来的噩耗与打击，宜娟一路探查，希望能找出谜底的解答，与此同时，凶恶的鬼魅也向她袭来，逼使她须与时间赛跑，同时见证到人性的善与恶，如何反复辩证……

非行に走った娘とそれを更生させようとする両親との凄まじい闘いを描く。超ベストセラーとなった穂積隆信原作の同名ノンフィクションの映画化。穂波由布子は中学2年生。彼女は幼児時代に腹部腫瘍の大手術を受け、その後遺症で体が弱く髪が赤かった。その髪の色が不良女生徒グループの気に障り、凄まじい乱闘の果てに由布子の体と心は傷ついた。家の貯金通帳から十万円を引き出した由布子は、親友の笹原明子と連れだって家出する。

非行に走った娘とそれを更生させようとする両親との凄まじい闘いを描く。超ベストセラーとなった穂積隆信原作の同名ノンフィクションの映画化。穂波由布子は中学2年生。彼女は幼児時代に腹部腫瘍の大手術を受け、その後遺症で体が弱く髪が赤かった。その髪の色が不良女生徒グループの気に障り、凄まじい乱闘の果てに由布子の体と心は傷ついた。家の貯金通帳から十万円を引き出した由布子は、親友の笹原明子と連れだって家出する。

唐冠华在中国福州建立了现实中的理想国“南部生活共识社区”，艺术家于伯公来到这里，实施了一件与社区居民们（音乐人、诗人、导演、僧人、设计师、种植者、建筑师等）一起徒步露营穿越北京,名曰“移動的營地”的作品，一行人从北京朝阳区黑桥村的小树林进发向长城，继而抵达关外的内蒙古希拉穆仁草原。 　　一路办展览、搞派对、思索生活。与北京从事艺术、商业、文化的理想主义者们握手，离开乡村的温床，与硕大的城市温柔的拥抱。试图接近全体人类的底层共识。

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 )

唐冠华在中国福州建立了现实中的理想国“南部生活共识社区”，艺术家于伯公来到这里，实施了一件与社区居民们（音乐人、诗人、导演、僧人、设计师、种植者、建筑师等）一起徒步露营穿越北京,名曰“移動的營地”的作品，一行人从北京朝阳区黑桥村的小树林进发向长城，继而抵达关外的内蒙古希拉穆仁草原。 　　一路办展览、搞派对、思索生活。与北京从事艺术、商业、文化的理想主义者们握手，离开乡村的温床，与硕大的城市温柔的拥抱。试图接近全体人类的底层共识。

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 )