Street life, it’s the only life I know. In this uptempo party piece, xerox, paint and found-sound montage in with Curtis Mayfield, moving on up into fragmented experience.

Tom Waits is one of the most original musicians of the last five decades. Renowned for his gravelly voice and dazzling mix of musical styles, he's also one of modern music's most enigmatic and influential artists. His songs have been covered by Bruce Springsteen, Rod Stewart and Norah Jones, among many others. But Waits has always pursued his own creative vision, with little concern for musical fashion. In a long career of restless reinvention, from the barfly poet of his early albums to the junkyard ringmaster of Swordfishtrombones, his songs chronicle lives from the margins of American society - drifters, dreamers, hobos and hoodlums - and his music draws on a rich mix of influences, including the blues, jazz, Weimar cabaret and film noir. Using rare archive, audio recordings and interviews, this film is a bewitching after-hours trip through the surreal, moonlit world of Waits' music - a portrait of a pioneering musician and his unique, alternative American songbook.

12 artwork transitions by Jeremy Blake for the film Punch-Drunk Love (2002).

不同的珍妮们身处一个种姓制度之中，在这个体系里，同一基本原型女孩的不同版本会根据自身进化的强大程度来彼此区分。实际上，“普通”这一概念成了女孩们互相扔来扔去的一种看似夸赞实则贬低的说法。在这里，自我实现有一个量化的标准，而且，就好像在一场……

While parked in a remote spot lunching Chinese food with his partner, Detective Frank Spivey saves a disfigured woman called Jenifer from being sliced with a meat cleaver by a deranged homeless man. He feels sorry for Jenifer, and takes her from an insane asylum and brings her home. Frank becomes obsessed for Jenifer, feeling lust and attraction for her lascivious body. When he realizes that she is a human beast, he moves with her to an isolated old cabin in the woods, with tragic consequences.

一部关于女演员詹妮弗·索特的短片，由布莱恩·德·帕尔玛执导，布鲁斯·乔尔·鲁宾编剧。注：截至目前，该片被认为已遗失，尚无已知拷贝公开面世。

而停在一个偏远的地方吃午饭的中国菜与他的伙伴，侦探弗兰克·斯皮维节省了从由一个疯狂的无家可归的人切肉刀切片被称为珍妮弗毁容的女人。他觉得对于珍妮弗对不起，并从疯人院把她和她带来了家。弗兰克成为了珍妮弗痴迷，抚摩她淫荡的身体欲望和吸引力。当他意识到她是一个人的野兽，他与她的移动到一个孤立的老小屋在树林中，用悲惨的后果。

Like the other reviewer has said, Janice Beard: 45 Words Per Minute isn't an especially profound film, but it is good fun and it is better than the majority of what passes through the cinemas. In the film, Janice Beard is a 20 something young woman whose life began unusually when her father died in childbirth. This causes her mother to be the world's first sufferer of post-natal-post-mortem syndrome. She has never left the house since her daughter's birth, and Janice spends her entire life concocting stories to entertain her mother and entice her into the world. Like the director, I've also known adult compulsive liars and think they're not generally sympathetic people. However, the explanation provided to us of her mother's illness succeeds in endearing Janice The Underdog to the audience. In the hope of being able to find and pay for a cure for her mother, Janice, equipped with her minimum level 45 words per minute typing rate, leaves Scotland for temp work in London. To some degree this reflects the experience of the director/writer Clare Kilner who has said the idea for the movie came to her while doing temp work - being in but not part of the work place and being able to observe others closely from that unique position. Janice ends up working at a British car manufacturer (this is a work of fiction after all) through her school friend - the one who was faking a seizure at the beginning of the film to get Mrs Beard out of bed. The car company is about to launch its make or break product and tension in the office is high when Janice joins the typing pool headed by beautiful, bitchy Julia (Patsy Kensit). From there on in it's a story about Janice toning down her outlandish stories (or living up to them - the salsa dance scene) and fitting in with the typing pool women, and finding someone along the way in the shape of Sean (Rhys Evans from Twin Town [http://us.imdb.com/Title?0120394] and Notting Hill [http://us.imdb.com/Title?0125439]). It's not Janice' fault there's industrial sabotage afoot and she's caught in the middle. This is a really good, light and enjoyable film. If a director's first film most embodies the nature of their work to come then I look forward to seeing more of Clare Kilner's work. Answering questions on stage after the movie she was lovely.