现代厨神姜落落在拿到厨王争霸赛冠军时被人杀害，因为戒指穿越到古代，成了江南醉仙楼的店小二，主角姜落落为回到现代，进京参加厨神大会，在各方高手挑战中，以厨艺征服众人，智斗反派，历经千辛万苦，最终成为厨神大会榜首。

现代厨神姜落落在拿到厨王争霸赛冠军时被人杀害，因为戒指穿越到古代，成了江南醉仙楼的店小二，主角姜落落为回到现代，进京参加厨神大会，在各方高手挑战中，以厨艺征服众人，智斗反派，历经千辛万苦，最终成为厨神大会榜首。

A film by Aria Covamonas.

A film by Aria Covamonas.

1972年在菲律宾的一个偏远乡村发生了许多神秘事件。森林里传来哭泣声、母牛被砍死、在田间发现流血死去的男人、许多房屋被烧毁。军事行动越来越普遍，残忍的民兵统治着乡村。费迪南德·E·马科斯宣布1081号公告命令，实行全国戒严。

LOVE CONNECTION

Perhaps the most enjoyable Oliveira film I've watched so far also proved to be the most frustrating experience (through no fault of the genial Portuguese director, whom I saw at the 2004 Venice Film Festival): unfortunately, the copy shown on late-night Italian TV was of an atrocious quality – with intermittent picture loss, rampant pixellation and considerable stretches where the dialogue was so low and muffled as to be barely audible (thankfully, the movie was presented in its original language accompanied by Italian subtitles), despite the volume of my TV being practically set at its maximum level! The irony is that this was scheduled again on the very same channel just the other week and, had I known of the poor state of my copy, I'd have tried to record it again…though, of course, I would've had no guarantee that they were able get hold of a superior print unless I went through the whole thing over again! 　　Anyway, having seen it, I'm now able to understand how Oliveira felt so completely at home making that Bunuelian tribute BELLE TOUJOURS (2006); in fact, this has much the same aura of elegant surrealism evident in the Spaniard's contemporaneous masterpiece THE DISCREET CHARM OF THE BOURGEOISIE (1972), while throughout Oliveira displays an admirably Ophulsian propensity for intricately mobile camera-work. The premise is original and quite delightful: a woman has lost a husband and remarried; she used to despise the former but, now, she realizes how much she actually loved him and, consequently, starts to neglect Spouse No. 2. Also, the first husband had an identical twin brother – so the wife feels closer to him than her current husband; the latter, humiliated by this awkward situation, commits suicide! Then, the sibling of the deceased confesses that he's actually the man she married and that it was his twin who had died (he just had the inexplicable urge to exchange identities with him!); so, the ex-bride and groom go to court to make their re-union legal…except that, by this time, it dawns on her that Husband No. 2 is the one she truly loves! 　　Amid all this, their close circle of friends try to make head or tails of the woman's whims and quirks; further complications, however, arise out of the subplot involving a man who makes passes at two of the women (one's married, the other happily cohabiting with her divorced ex!). The latter turns him down flat, while his affair with the former proves no less volatile than the leading lady's roundabout ways; the man, then, deliberately picks a fight with his lover's husband – who had earlier also exchanged harsh words with the heroine's cynical second husband. Though lacking perhaps the cheerful mockery that Bunuel managed to bring to this essentially staid environment (even if the Mendelssohn score still lends it undeniable irony), Oliveira's script is both intelligent and witty – to which his small cast of unknown actors (to me, at least) respond extremely well. These extend to even the minor roles of butler and maid: apart from indulging in their own romantic dalliances from time to time, the butler is visibly annoyed in having to attend to the mansion's gates after every vehicle that calls at the premises (in fact, apart from a brief flashback and the church finale, we're virtually stuck on the grounds of this single location). He also witnesses the second husband's fatal leap from the window as well as the wife's escape from the very same room (in which she's been locked by Spouse No. 1 after her passion for his replacement is re-ignited), while the maid has no qualms about spying on her masters' violent squabbles through a keyhole. 　　The ironic ending sees all concerned attending the wedding ceremony of a young bride and groom – with the central couple entering the church together but then taking separate seats away from one another because of lack of room; the emphasis placed on the newlyweds' promises of lifelong devotion obviously ring hollow at this point while, seemingly on a whim, Oliveira decides to end the film on an amusing shot of the church organist (sporting the somewhat clichéd unkempt appearance of the typical musicologist). It should be said here that PAST AND PRESENT is the first entry in the director's so-called "Tetralogy Of Frustrated Love" along with BENILDE OR THE VIRGIN MOTHER (1975), the five-hour TV serial DOOMED LOVE (1979) – both of which I own and intend to check out presently, as part of my ongoing retrospective honoring Oliveira's 100th birthday next month – and the as-yet unavailable FRANCISCA (1981).

讲述了无辜的新生儿、悲痛欲绝的父母、自愧不已为自己工作12h却去了个厕所而道歉的护士长、急于得到消息的记者、互相推诿最后把责任推到这个体制的高层。一条过去式的意外怀孕主线，一条现在式的火灾主线，无数的隐患导造成了一场悲剧。

一个出口被扎紧的麻袋里装着一群小狗，它们在麻袋里疲命挣扎，无果，发出悲鸣，似在抗议或被运走或被卖掉的命运的不公。 　　一条小狗从一个小小的破洞中奋力地挣扎出毛茸茸的头，它的模样吸引了很多人的目光，人们停下来聚集在它周围，开始饶有趣味地盯着它看。小狗终于将头钻出来的瞬间，没来得及看清麻袋外的景象，却先听到了一阵哄笑声。或许是感觉到了自己正在被人们当成展品参观，费力将头伸出的它停止了悲鸣和挣扎，只用一双深不见底的眼睛木然地注视前方。

1979年霍梅尼在伊朗掌权是现代激进伊斯兰的第一次重大胜利。在这部三集纪录片中，当年的一些关键人物会向您讲述这其中的故事。 　　美国前总统卡特第一次在电视面前讲述那次使其在选举中失去总统职位的事件。伊朗扣押了在德黑兰的美国大使馆人员，这总共的444天一点一点的夺去了卡特的时间和能量。卡特总统的最后任期被绝望的试图营救人质计划所笼罩。那些和他一起在白宫中试图营救人质，如何谈判，最终怀疑自己能否救回人质的人们，他们都讲述了自己在其中的故事。其他参与者包括前副总统沃尔特·蒙代尔，前副国务卿克里斯多夫以及前国家安全顾问兹比格涅夫·布热津斯基。 　　另一面的故事由伊朗高层讲述：霍梅尼的顾问，大阿亚图拉蒙塔泽里；他的第一位外交部长，亚兹迪；其美国谈判代表，萨迪克·塔巴塔巴伊；伊朗革命卫队创立者之一，穆赫辛。