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?

孟天运、孟天许和孟天慕都是孤儿，被没有子嗣的自流井盐商巨擘孟敦甫收为养子，意欲在他们中间培养出孟氏产业的接班人。但在风起云涌的年代里，他们却走上了不同的道路。孟天运投身革命，成为共产党员，建立一个没有压迫的新中国是他的奋斗目标；孟天许怀揣着实业救国的理想却处处碰壁，在黑暗的旧中国倾家荡产，九死一生；孟天慕则加入了反动阵营与人民为敌。为了民族兴亡，为了救国理想，为了爱情，为了友谊，为了自流井这座美丽的城市，兄弟间或为对手相互斗争，或为朋友并肩战斗。他们共同经历了中国历史上最为动荡的一段岁月，见证了覆地翻天的人世沧桑。

孟天运、孟天许和孟天慕都是孤儿，被没有子嗣的自流井盐商巨擘孟敦甫收为养子，意欲在他们中间培养出孟氏产业的接班人。但在风起云涌的年代里，他们却走上了不同的道路。孟天运投身革命，成为共产党员，建立一个没有压迫的新中国是他的奋斗目标；孟天许怀揣着实业救国的理想却处处碰壁，在黑暗的旧中国倾家荡产，九死一生；孟天慕则加入了反动阵营与人民为敌。为了民族兴亡，为了救国理想，为了爱情，为了友谊，为了自流井这座美丽的城市，兄弟间或为对手相互斗争，或为朋友并肩战斗。他们共同经历了中国历史上最为动荡的一段岁月，见证了覆地翻天的人世沧桑。

故事发生在北方某城市—盖城，某经济学院毕业生童地，因纵火嫌疑入狱5年，出狱后重返社会，当童地走出高墙的瞬间，恶运就向他袭来，未婚妻谷穗已成为弟弟童天—副秘书长的妻子，并有一子。真正的纵火者，同父异母的弟弟童天，并不欢迎哥哥回家。

故事发生在北方某城市—盖城，某经济学院毕业生童地，因纵火嫌疑入狱5年，出狱后重返社会，当童地走出高墙的瞬间，恶运就向他袭来，未婚妻谷穗已成为弟弟童天—副秘书长的妻子，并有一子。真正的纵火者，同父异母的弟弟童天，并不欢迎哥哥回家。