阿根廷新浪潮电影大师托雷尼尔逊最好的作品之一，1961年嘎纳国际电影节费比西奖，60年代最重要的阿根廷新电影之一，喜欢Jean Cocteau或者Georges Franju的应该会同样喜欢这部影片吧。 　　Leopoldo Torre Nilsson was probably the best film director in Argentina. He was a man with a vision. He was the one that elevated the local cinema and put it on the map in the late 50s and early 60s. He almost always worked on screen plays based on his wife, Beatriz Guido's novels, as is the case here. 　　This gothic tale of hidden monsters and well kept secrets among the provincial bourgeoisie had more impact for me the first time I watched it. On second viewing what seemed so eerie before doesn't hold true any more. 　　The husband-and-wife team of Beatriz Guido and Leopoldo Torre-Nilsson once again write and direct, respectively, to create another drama about the lives of an upper middle-class segment of society. In this engaging story, a young woman, Laura (Elsa Daniel), comes back from boarding school to a home that has seen wealthy days but is now barely managing. She discovers that an aunt has locked herself up in the attic to spend the rest of her life mourning the loss of her one great love, a loss that occurred when the man jilted her on their wedding day. Laura decides to hunt the man down and bring him to meet her aunt, just to save the woman from herself. She succeeds in tracking him, and convinces him to visit her aunt, while she herself is very much taken with his charm and stunningly handsome looks. The entire scenario shifts after Laura's original objective is reached.

阿根廷新浪潮电影大师托雷尼尔逊最好的作品之一，1961年嘎纳国际电影节费比西奖，60年代最重要的阿根廷新电影之一，喜欢Jean Cocteau或者Georges Franju的应该会同样喜欢这部影片吧。 　　Leopoldo Torre Nilsson was probably the best film director in Argentina. He was a man with a vision. He was the one that elevated the local cinema and put it on the map in the late 50s and early 60s. He almost always worked on screen plays based on his wife, Beatriz Guido's novels, as is the case here. 　　This gothic tale of hidden monsters and well kept secrets among the provincial bourgeoisie had more impact for me the first time I watched it. On second viewing what seemed so eerie before doesn't hold true any more. 　　The husband-and-wife team of Beatriz Guido and Leopoldo Torre-Nilsson once again write and direct, respectively, to create another drama about the lives of an upper middle-class segment of society. In this engaging story, a young woman, Laura (Elsa Daniel), comes back from boarding school to a home that has seen wealthy days but is now barely managing. She discovers that an aunt has locked herself up in the attic to spend the rest of her life mourning the loss of her one great love, a loss that occurred when the man jilted her on their wedding day. Laura decides to hunt the man down and bring him to meet her aunt, just to save the woman from herself. She succeeds in tracking him, and convinces him to visit her aunt, while she herself is very much taken with his charm and stunningly handsome looks. The entire scenario shifts after Laura's original objective is reached.

黑道大佬萧鸩为了报恩，和救命恩人（女配）定下了婚约。大师却说他是天煞孤星之命，命里注定要克死一妻一子。便找了温絮（女主）闪婚，把她当成替死鬼。然而温絮宛如一个温柔的小太阳，一次次触动着萧鸩干疮百孔的内心。可萧鸩为了履行报恩的承诺，强行回避对温絮的爱意。直到温絮难产而“死”，他也意外得知女配一直联合家族欺骗自己，少年时救他的恩人就是温絮。多年后，萧鸩再次遇见了大难不死的温絮。这一次，他绝不会再放手！

云初霁遭顾寒时为白月光屡次凌虐。女仆惨死、父亲跳楼、双腿残废，她心死提离婚却被囚禁。怀孕后更被强行夺取胎盘，最终在地下室一尸两命。直到死亡诊断书甩在脸上，那个负心汉才跪地崩溃——可惜他再也追不回她的心。

苏晓不顾姐姐苏淼反对，携五十万嫁妆远嫁凤凰男秦磊，助力秦家创业。她满心憧憬幸福，婚后却沦为免费保姆，遭秦磊虐待、大嫂秋莲刁难。怀孕后，苏晓撞破秦磊与秋莲的私情，还被二人与大哥秦森要求替人生子。苏淼一直暗中帮扶秦家，得知妹妹怀孕后放心不下乔装暗访，发现秦家不仅虐待苏晓，还存在偷税漏税、欺骗村民贷款等恶行，自身也险些遇险。为救妹妹，苏淼决心搜集证据，揭露秦家真面目。

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.