里昂，一个舒适的、充满慵懒阳光的法国南部城市。但是在1862年3月的一天，一个男人的头颅随着市民们潮水般的吼叫滚落在断头台之下，这个男人的名字叫——马丁·杜摩拉（Martin Dumollard）。

里昂，一个舒适的、充满慵懒阳光的法国南部城市。但是在1862年3月的一天，一个男人的头颅随着市民们潮水般的吼叫滚落在断头台之下，这个男人的名字叫——马丁·杜摩拉（Martin Dumollard）。

男同片，黑白片，独立片，走的是小津路线，对白很少，镜头移动缓慢，安静的节奏，获柏林电影节泰迪奖。如果喜欢这种风格的话，可推荐看看另一位阿根廷新锐导演Lisandro Alonso的作品，尤其是《自由》（2001）。MY RATING 4/5 　　官网：http://musicboxfilms.com/laleon/ 　　Set on a remote island in northeastern Argentina, this artfully shot debut feature simmers with sexual tension. Alvaro is a quiet man who repairs books and harvests reeds. Doubly isolated by his remote home and his homosexuality, he lives simply and doesn't talk much, resorting to hook-ups with outsiders for release. 　　On the more garrulous side of the spectrum is Turu, who pilots the water taxi nicknamed La León because of the sound its engine makes chugging up the river. Turu fancies himself a community leader of sorts because his boat ferries the local population whenever they need to go to town. He's also a loudmouth and a brute, ranting against missionaries, immigrants from Paraguay who've come to work, and Alvaro for being gay. Like most bigots, the captain has some unresolved issues and is alternately fascinated and repelled by the handsome man he transports. 　　To frame the story, Otheguy employs a wonderfully textured black-and-white cinematography with the jungle at center stage. Whether providing Alvaro with cover for a nighttime tryst or drowning out the noise of a more brutal encounter with its own natural clamor, the environment is a keen, impartial observer of the human drama unfolding in its midst. Placed among other recent noteworthy examples of Latin American art cinema including Los Muertos and A Thousand Clouds of Peace, La León heralds the arrival of a new cinematic talent.

成长在贫穷的吉普赛营地的埃德蒙·维达尔，又名摩门，保有着一份对家庭的责任感，无限忠诚与骄傲。尤其是，他和因偷窃而入狱的瑟奇·舒特尔依然保存着 友谊。两人无可避免的卷入到犯罪组织，六七十年代昂匪帮因持械抢劫而臭名卓著。不断壮大的匪帮在70年代中期得以遏制。今天，已年逾60的埃德蒙欲将这段 生活抹去，找个地方从生意中抽身，转向过去因此而受苦的妻子以及儿孙，而妻儿长孙对这个男人所拥有的坦率、普遍价值、清醒的头脑、以及无限仁慈深表尊敬。 但瑟奇·舒特尔的到来，这无法抹去的历史又会掀起怎样的涟漪…… 　　幕后制作 　　奥利维埃·马夏尔被认为是法国六七十年、梅尔维尔时代黑帮片的继承者。他的《36警局》、《MR73左轮枪》虽然属于一般的商业警匪范畴，但情节有着 强烈的现实感和宿命感，显示出导演的功力。他的最新作品《里昂黑帮》日前在法国上映，影片有着成为一部法国版“教父”和“盗火线”的野心，但得到的评价较 为两级。有的观众认为影片的故事讲得很真诚，有的则计较其风格过于刻意和不够统一。奥利维埃·马夏尔本人在从影之前就是一名警察，他的前两部作品也都是讲 述警察的故事，但《里昂黑帮》将镜头对准了他们的对立面，“我并不希望美化黑帮，相反表现了他们之间所谓神圣的不可侵犯的男人情谊只不过是一种幻觉。我的 黑帮最终不是横死就是落狱，没有什么好下场。”

成长在贫穷的吉普赛营地的埃德蒙·维达尔，又名摩门，保有着一份对家庭的责任感，无限忠诚与骄傲。尤其是，他和因偷窃而入狱的瑟奇·舒特尔依然保存着友谊。两人无可避免的卷入到犯罪组织，六七十年代昂匪帮因持械抢劫而臭名卓著。不断壮大的匪帮在70年代中期得以遏制。今天，已年逾60的埃德蒙欲将这段生活抹去，找个地方从生意中抽身，转向过去因此而受苦的妻子以及儿孙，而妻儿长孙对这个男人所拥有的坦率、普遍价值、清醒的头脑、以及无限仁慈深表尊敬。 但瑟奇·舒特尔的到来，这无法抹去的历...

Die Journalistin Norah will in Wien einen Neuanfang wagen. Eine Bettlerin sagt ihr voraus, dass sie in sechs Wochen einen Mann namens Arthur Grimm töten werde. Anfangs gibt Norah dem Vorfall keine Beachtung, doch dann passieren merkwürdige Dinge.

Die Journalistin Norah will in Wien einen Neuanfang wagen. Eine Bettlerin sagt ihr voraus, dass sie in sechs Wochen einen Mann namens Arthur Grimm töten werde. Anfangs gibt Norah dem Vorfall keine Beachtung, doch dann passieren merkwürdige Dinge.

1999年，丹上了11年级，他转学到圣劳伦斯，一所全男生天主教学校。他的父亲因晚期脑癌正在附近的医院接受治疗；他母亲在他只有七岁的时候就去世了。丹与阿努拉克修士关系密切，阿努拉克修士是该校的院长，也是一名心理学家。阿努拉克修士试图治愈丹的睡眠瘫痪。在他的梦里，丹看到了一个让他窒息 的影子当他转移的时候会变得更糟。阿努拉克兄弟在梦中寻找意义；他认为丹对他父亲有某种情结。丹在第一天上班时引起了一阵恐慌，因为他选择了一个高年级学生Trin的座位，Trin一年前在学校后面的湖边神秘失踪。那张桌子没人敢坐，也没人敢扔。他认识了他的同学九和室友乔治，以及来参加年度演出的圣玛丽学校的学生查姆。随着他们四人的关系越来越密切，他们开始调查Trin的失踪，同时帮助Dan摆脱困扰他的阴影

Relu is a family man. He has two children, a wife and a double life. Seen through the eyes of his family, Relu Oncescu appears to be an ordinary taxi driver. No one suspects that Relu works as a collector for Capitanu', a local mobster. Neither of the two worlds (his family and the mafia) knows of the other's existence. Relu manages to keep everything under control, but not for long. After accidentally killing a man, he tries to get out of the underworld, but he can't find his way back. Day by day, the secrets he keeps become increasingly oppressive and the lies begin to surface, one by one.

In Manila, a solitary man from a far-away province lives in poverty. The only thing he has is a camera, and he stays at churches hoping people will hire him to take their photographs. During one day, he has three encounters that change his life: the first, with a smooth-talking young man who's standing by the church door who berates him for wasting his life in church, the second with a boy who offers to take his picture, and the third with a Mercedes-driving man who's been stuck in traffic and has no patience left. Is there any deliverance from the soullessness of the city?