Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

在纽约，一个声称正为学校募资的女孩努力吸引陌生人的注意，但后来她发现了一件可能会改变一切的事。

在纽约，一个声称正为学校募资的女孩努力吸引陌生人的注意，但后来她发现了一件可能会改变一切的事。

曾经是幽幽暗暗反反复覆追问才知道平平淡淡从从容容才是真 ――『再回首』上世纪八十年代初，北方某城…

上影演员剧团深入生活，创作出一部《何须再回首》，一枝独秀。 　　崔杰在《何须再回首》中扮演樊老大，将一个人性复苏、良知回萌、走向新岸的特殊人物演得活灵活现。

上影演员剧团深入生活，创作出一部《何须再回首》，一枝独秀。 　　崔杰在《何须再回首》中扮演樊老大，将一个人性复苏、良知回萌、走向新岸的特殊人物演得活灵活现。

讲述一位市长、一名记者和一个列车长在遭遇雪灾后身边发生的感人故事，并通过他们的视角展现出了这次灾难中社会不同人的不同心态以及灾害中所生长出的温情。

讲述一位市长、一名记者和一个列车长在遭遇雪灾后身边发生的感人故事，并通过他们的视角展现出了这次灾难中社会不同人的不同心态以及灾害中所生长出的温情。