1976年的夏天，19岁的女孩艾丽娜·维克（伊莎贝拉·阿加妮 Isabelle Adjani 饰）随着父母搬到某个乡下小镇。艾丽娜青春亮丽，性感逼人，她的到来使整个小镇的男性都陷入躁动之中，人们风传关于艾丽娜的各种绯闻。在此期间，绰号皮蓬的消防员弗朗利蒙多（Alain Souchon 饰）也深深迷上了艾丽娜。在一次舞会上，皮蓬和艾丽娜走到一起，继而迅速陷入爱河。然而艾丽卡接近皮蓬似乎另有目的，她的母亲早年被三个人强暴，之后生下艾丽卡。许多年后，这个冶艳的复仇女人重返小镇，发誓手刃那三个男子…… 　　本片荣获1984年凯撒奖最佳女主角（Isabelle Adjani）、最佳剪辑、最佳女配角（Suzanne Flon）和最佳编剧等四项大奖。

1976年的夏天，19岁的女孩艾丽娜·维克（伊莎贝拉·阿加妮 Isabelle Adjani 饰）随着父母搬到某个乡下小镇。艾丽娜青春亮丽，性感逼人，她的到来使整个小镇的男性都陷入躁动之中，人们风传关于艾丽娜的各种绯闻。在此期间，绰号皮蓬的消防员弗朗利蒙多（Alain Souchon 饰）也深深迷上了艾丽娜。在一次舞会上，皮蓬和艾丽娜走到一起，继而迅速陷入爱河。然而艾丽卡接近皮蓬似乎另有目的，她的母亲早年被三个人强暴，之后生下艾丽卡。许多年后，这个冶艳的复仇女人重返小镇，发誓手刃那三个男子…… 　　本片荣获1984年凯撒奖最佳女主角（Isabelle Adjani）、最佳剪辑、最佳女配角（Suzanne Flon）和最佳编剧等四项大奖。

以《源氏物语》而闻名世间宇治市，古典浪漫的气息弥漫在城市的每一个角落。在市政府农林茶叶科供职的笹本薫平（伊藤淳史 饰）是一个貌不惊人同时对工作缺乏足够热情的年轻人。他从小和家境优渥、高大英俊、文体全能的宫岛宗治（戸田昌宏 饰）同班，在对方面前永远形同抬不起头的丑小鸭，甚至连暗恋许久的美丽女孩立花夕浮（忽那汐里 饰）也被对方捷足先登。某天，他意外发现夕浮竟然回到了宇治市，而且准备继承父亲（平田满 饰）成为有着悠久历史的鸬鹚渔人。依然喜欢夕浮的薫平鼓足干劲，打算策划一个以鸬鹚渔人为卖点的活动，谁知期间却听到夕浮和宫岛复合并准备移居海外的消息。 　　一路狂奔的薫平受到了莫大的打击……

以《源氏物语》而闻名世间宇治市，古典浪漫的气息弥漫在城市的每一个角落。在市政府农林茶叶科供职的笹本薫平（伊藤淳史 饰）是一个貌不惊人同时对工作缺乏足够热情的年轻人。他从小和家境优渥、高大英俊、文体全能的宫岛宗治（戸田昌宏 饰）同班，在对方面前永远形同抬不起头的丑小鸭，甚至连暗恋许久的美丽女孩立花夕浮（忽那汐里 饰）也被对方捷足先登。某天，他意外发现夕浮竟然回到了宇治市，而且准备继承父亲（平田满 饰）成为有着悠久历史的鸬鹚渔人。依然喜欢夕浮的薫平鼓足干劲，打算策划一个以鸬鹚渔人为卖点的活动，谁知期间却听到夕浮和宫岛复合并准备移居海外的消息。 　　一路狂奔的薫平受到了莫大的打击……

A group of friends uncover an otherworldly object in a rural field, which they soon discover holds greater secrets than they could imagine.

Glenn and Carlo are in beautiful and exotic island of Bali where they work on writing a photo book. Glenn is in the grip of a mystical crisis, influenced by the magical rituals of the place, converted to Hinduism, attends a holy friend, Tillem and lives as a polygamist with two indigenous wives. Carlo is skeptical, he doesn't believe in anything, only in his work, even if he doesn't disdain the company of a faithful indigenous lover. When his wife Daria joins him in Bali she makes a great friendship with the mystic Glenn and ends up falling in love with him. Daria and Carlo have an open marriage. Despite the love of Daria, Glenn kills himself after having performed a magic ritual that binds him to the Hindu holy man. Carlo returns to Rome alone in the throes of a depressive crisis, after three years he thinks he is seeing his wife again, but it is only a prostitute that he identifies with his wife. Tragic ending with Carlo who kills the alleged wife and commits suicide, after confessing everything to a bewildered police commissioner who is looking for a rational explanation for the story. The photographer has a native mistress, and encounters a missionary with a nymphomaniac daughter.

我Thomas（Ioan Gruffudd饰，年青时期由Billy Gunnion饰演）爱上了一个玫瑰般的女孩。在我们这所蔚蓝海岸的高中里，她，Vinca（Ivanna Sakhno饰），是最受欢迎的女生。二十五年前的一个暴风雪之夜，她消失了。有人看到她和她的秘密情人出现在巴黎的酒店，那是她最后的踪迹。 　　在同一个夜晚，我和好友Maxime（Grégory Fitoussi饰，年青时期由Loyan Pons de Vier饰演）失手犯下一桩杀人案，并将受害人的尸体藏在学校体育馆的墙壁内。二十五年后，背负秘密的我成了一名畅销书作家，Maxime则正在竞选议员。这时传来消息，我们的母校突然决定翻修，旧的体育馆要被拆除，秘密即将败露，我回到镇上，决定接受命运的审判。 　　紧接着，我和Maxime陆续收到匿名恐吓信，学校里我弃用多年的储物柜里发现巨款，我的家人也遭遇意外，我们发现事情绝不是看上去那么简单。当年知晓个中秘密的人几乎都已不在人世，是谁在背后操控这一切？那个黑夜究竟掩埋了怎样的真相？而我们的人生是否行将分崩离析？

我Thomas（Ioan Gruffudd饰，年青时期由Billy Gunnion饰演）爱上了一个玫瑰般的女孩。在我们这所蔚蓝海岸的高中里，她，Vinca（Ivanna Sakhno饰），是最受欢迎的女生。二十五年前的一个暴风雪之夜，她消失了。有人看到她和她的秘密情人出现在巴黎的酒店，那是她最后的踪迹。 　　在同一个夜晚，我和好友Maxime（Grégory Fitoussi饰，年青时期由Loyan Pons de Vier饰演）失手犯下一桩杀人案，并将受害人的尸体藏在学校体育馆的墙壁内。二十五年后，背负秘密的我成了一名畅销书作家，Maxime则正在竞选议员。这时传来消息，我们的母校突然决定翻修，旧的体育馆要被拆除，秘密即将败露，我回到镇上，决定接受命运的审判。 　　紧接着，我和Maxime陆续收到匿名恐吓信，学校里我弃用多年的储物柜里发现巨款，我的家人也遭遇意外，我们发现事情绝不是看上去那么简单。当年知晓个中秘密的人几乎都已不在人世，是谁在背后操控这一切？那个黑夜究竟掩埋了怎样的真相？而我们的人生是否行将分崩离析？

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.

Wickedly funny and observant slice of life NYC gangster pic, that's decidedly Jewish, quirky and anarchistic. The surprise cult comedy/drama hit was shot in 1969 and put on the shelf when no distributor was willing to take a chance on it when test audiences didn't laugh, but it was released in 1989 to play in the NYC Film Festival. Rave reviews gave this pic a new lease on life, and it got its long awaited theatrical release--only twenty years too late to help the splendid aging unknown cast advance their careers. 　　In this low-budget black and white shot indie, writer-director Michael Roemer ("Nothing But A Man") makes good use of location shots in the Big Apple, exhibits a winsome dead-on droll humor and gets a super performance from Max Priest--the washed-up small-time mob leader with a deadpan expression (perhaps equaling Buster Keaton's) that seemingly can absorb all kinds of bad news without letting on he's in pain. It's like a time capsule pic, as it takes us back to the 1960s when mafioso types were riding around the city in big gas-guzzling Cadillacs, stylish dames were sporting bee-hive hairstyles, Go-Go dancers were in vogue and there was liberal John Lindsay's racially changing NYC that altered forever the way urban America was to be from now on. 　　It's a scream as a cutting satire on middle-class Jewish aspirations, their showy bar mitzvah rituals and of the almost tragic downfall of a two-bit gangster who didn't have the heart for the rough business, just the will to lead a soft life. The cinéma-vérité pic looks authentic even if it's covering familiar territory, and has the balls to make such an unsympathetic low-life criminal as Harry as an almost sympathetic heroic one by the end of the day.