母亲逝世后，白兰（张柏芝饰）飘洋过海，前往韩国仁川市投靠素未谋面的叔叔，但到了那里才知道叔叔已移民加拿大。她钱财用尽，无奈下只好同人假结婚以获取居留权。 　　白兰从没有见过 “丈夫”李江齐（崔岷植饰），身边只有他的一张照片和一个名字。白兰辛苦打工、身体过劳，生活孤单外还要忍受四周的眼光。唯一带给她安慰的是房里那张“丈夫”的照片，她很感激这名素未谋面的陌生男子，但事实上，对方是个无所事事的中年混混，由于缺钱才会同意假结婚。 　　命运让他们屡次错失见上一面的机会，一直到有件事情发生……

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

A sprawling two-hour forty-five minute documentary about screen legend Marlon Brando, features never-before-seen footage and a series of original, in-depth interviews from a wide variety of Hollywood figures and family members. Included are classic film clips from many of his films including "A Streetcar Named Desire (1951);" "Viva Zapata!" (1952); "Julius Caesar" (1953); "The Wild One" (1953); "On the Waterfront" (1954); "Guys and Dolls" (1955); "The Teahouse of the August Moon" (1956); "Sayonara" (1957); "The Young Lions" (1958); "Mutiny on the Bounty" (1962); "The Chase" (1966); "Reflections in a Golden Eye" (1967); "The Godfather" (1972); "Last Tango in Paris" (1973); "The Missouri Breaks" (1976); "Superman" (1978); "Apocalypse Now" (1979); "A Dry White Season" (1989); "The Freshman" (1990) and "Don Juan Demarco" (1995). Among the many peers, family members and friends making appearances include Ellen Adler, Ed Begley, Andrew Bergman, Bernardo Bertolucci, James Caan, Johnny Depp, Angie Dickinson, Robert Duvall, Jane Fonda, Frederic Forrest, Dennis Hopper, Quincy Jones, Martin Landau, Cloris Leachman, Karl Malden, Kevin McCarthy, Penelope Ann Miller, Edward Norton, Al Pacino, Arthur Penn, Sean Penn, Maximilian Schell, Martin Scorsese, Henry Silva, John Travolta, John Turturro, Jon Voight and Eli Wallach. The program also looks at Brando's involvement in civil rights and features interviews with Russell Means on Brando and the Native American movement; Bobby Seale, on his association with the Black Panthers; and Sacheen Littlefeather, the Native American actress whose on-stage rejection of Brando's Oscar for "The Godfather" is the stuff of Hollywood legend. Other interviews include family members and acquaintances that can shed light on Brando's very private life. Written by alfiehitchie

A sprawling two-hour forty-five minute documentary about screen legend Marlon Brando, features never-before-seen footage and a series of original, in-depth interviews from a wide variety of Hollywood figures and family members. Included are classic film clips from many of his films including "A Streetcar Named Desire (1951);" "Viva Zapata!" (1952); "Julius Caesar" (1953); "The Wild One" (1953); "On the Waterfront" (1954); "Guys and Dolls" (1955); "The Teahouse of the August Moon" (1956); "Sayonara" (1957); "The Young Lions" (1958); "Mutiny on the Bounty" (1962); "The Chase" (1966); "Reflections in a Golden Eye" (1967); "The Godfather" (1972); "Last Tango in Paris" (1973); "The Missouri Breaks" (1976); "Superman" (1978); "Apocalypse Now" (1979); "A Dry White Season" (1989); "The Freshman" (1990) and "Don Juan Demarco" (1995). Among the many peers, family members and friends making appearances include Ellen Adler, Ed Begley, Andrew Bergman, Bernardo Bertolucci, James Caan, Johnny Depp, Angie Dickinson, Robert Duvall, Jane Fonda, Frederic Forrest, Dennis Hopper, Quincy Jones, Martin Landau, Cloris Leachman, Karl Malden, Kevin McCarthy, Penelope Ann Miller, Edward Norton, Al Pacino, Arthur Penn, Sean Penn, Maximilian Schell, Martin Scorsese, Henry Silva, John Travolta, John Turturro, Jon Voight and Eli Wallach. The program also looks at Brando's involvement in civil rights and features interviews with Russell Means on Brando and the Native American movement; Bobby Seale, on his association with the Black Panthers; and Sacheen Littlefeather, the Native American actress whose on-stage rejection of Brando's Oscar for "The Godfather" is the stuff of Hollywood legend. Other interviews include family members and acquaintances that can shed light on Brando's very private life. Written by alfiehitchie

彩彩在三月里忙着寻找一种叫做“伪电气白兰”的酒，因为喜欢用dv相机纪录而误打误撞的成为了暗恋对象石开的求婚摄影师。在与石开和他的女友小森的接触中，彩彩发觉爱情是虚实难定的，而自己在春天里的感情也变得朦胧难以捉摸，她在道德与亲密的边缘摇摆不定之时，小森看出了她的缭乱春愁……

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

这在1997年西班牙生产是第二个画面适应斯蒂芬vzinczey的小说“在赞美年长妇女” 。我没有看到第一个，但将难以顶端，这1 。的位置，这适应已变更为从二次世界大战匈牙利到西班牙，期间和之后，立即内战。年轻的男孩和主要特征，作为描绘的胡安迭戈巴托（仍然是西班牙最有前途的年轻演员） ，旨在找到他的母亲中，风暴，并发现异性对未来路向。成熟的妇女，法耶夫•达纳韦和乔安娜帕库拉包括，教导他关于爱情和激情，虽然他stumbles后，女孩自己的年龄（英格里德卢比奥星卡洛斯绍拉的的士）一次或两次。电影是娱乐性和价值，以及您的时间。太差，这是没有公布在美国或英国，但它现已在视频（无英文字幕） 。

From rising cult filmmaker Kenichi Ugana, a misfit horror-themed rock band moves to the Japanese countryside to write the greatest punk anthem in the world.

信奉「Punk同面豉汤一样衔重要」的地下乐队主唱花子深信明年今日就是自己的死忌—正如众多死于27岁的摇滚音乐人一样。花子死前最大的心愿就是参加英国的Glastonbury音乐节，奈何乐队捞唔起，唱片滞销之余惨被发行公司追债，更将他们放逐到农村。唔想就此成世调理农务，废青 乐团决心自救，就算无法用Punk歌救地球，都至少要唱出个名堂！花子死到临头爆发小宇宙，以B级恐怖片为灵感创作歌曲，到底「时日无多」的花子最后能否成功带领乐队冲出罨耷农村？日本新一代Cult界导演宇贺那健一发挥癫才想像，结合青春、死亡及音乐，继续语不惊人死不休。