导演点评：这是一部以邮票剪贴画制作的动画作品。也是林光先生第一次为我制作音乐，他的配乐也丰富了我的影像。那时候，邮票可真贵啊。

爸爸临终前留下两样遗物， 弟弟抢先拿了那张中了6亿的彩票， 而我只能选择妈妈留下的老旧邮票， 可没想到弟弟变成有钱人后到处炫耀， 后来被狐朋狗友抢劫， 打断一条腿， 变成了终身瘸子， 未婚妻也和他退婚， 而我却凭借那张老旧邮票， 和失散已久的豪门奶奶相认， 直接获得30亿作为迟来的成年礼物， 弟弟满心嫉妒， 在地下车场把我活活勒死， 奶奶大怒， 不惜一切代价揪出了弟弟， 将他处以极刑

中国第一邮清末大龙邮票价值连城，被奉为稀世珍品。然而有谁知道，这枚邮票的背后却埋藏着一段悲欢离合的传奇故事…… 　　清朝民间已有邮政机构问世，邮差梅村（邱心志饰）送信途中结识了礼部侍郎之女容格格（胡静饰），一次邂逅，遂改变了两人其后的半生命运…… 　　西太后慈禧（韩再芬饰）突发奇想，谕令创制邮票，梅村被受以监制之职。一直垂涎容格格的康贝勒（黄河饰），乘机再次发难，以格格私下印制的一对错票相威胁…… 　　梅与容百般无奈之下，把错邮各携其一，生离死别……

中国第一邮清末大龙邮票价值连城，被奉为稀世珍品。然而有谁知道，这枚邮票的背后却埋藏着一段悲欢离合的传奇故事…… 　　清朝民间已有邮政机构问世，邮差梅村（邱心志饰）送信途中结识了礼部侍郎之女容格格（胡静饰），一次邂逅，遂改变了两人其后的半生命运…… 　　西太后慈禧（韩再芬饰）突发奇想，谕令创制邮票，梅村被受以监制之职。一直垂涎容格格的康贝勒（黄河饰），乘机再次发难，以格格私下印制的一对错票相威胁…… 　　梅与容百般无奈之下，把错邮各携其一，生离死别……

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

在某户武士家庭，腿脚不便的庄司佐之助（仲代达矢 饰）白发苍苍。当年哥哥成为家族的当家者，而佐之助变成了尴尬的寄食者，头靠在哥哥门下度过了大半生的…

http://cinefreak.org/226825-parbaj-1961