劇情縱覽
故事發生在貝爾格萊德的郊區,一位名叫亞絲娜(伊斯多拉·西姆喬諾維奇暫無內容Isidora暫無內容Simijonovic暫無內容飾)的女孩生長在那里。亞絲娜的家境十分貧寒,父親身患絕癥,母親無能為力。亞絲娜對此毫不在意,她的心思,全都放在學校里一個名為迪約勒(Vukasin暫無內容Jasnic暫無內容飾)的男生身上。
故事發生在貝爾格萊德的郊區,一位名叫亞絲娜(伊斯多拉·西姆喬諾維奇暫無內容Isidora暫無內容Simijonovic暫無內容飾)的女孩生長在那里。亞絲娜的家境十分貧寒,父親身患絕癥,母親無能為力。亞絲娜對此毫不在意,她的心思,全都放在學校里一個名為迪約勒(Vukasin暫無內容Jasnic暫無內容飾)的男生身上。
The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.
改編自叔叔杰西·祖拉斯基(Jerzy Zulawski)的科幻小說杰作《月球三部曲》,故事描述人類逃離毀滅的地球,飛船墜落在銀色星球上,不久后有人開始在星球上進行造神運動,然信徒分化后一派奉此外來政權為神,另一派則視之為魔,人性貪婪的劣根性,在這星球上暴露的一覽無遺…… 本片被譽為是“一部拍給另一個世界的人看的電影”。影評人一致推崇這部片是導演安德烈·祖拉斯基電影生涯中,最具史觀、野心勃勃且兼具后現代主義的科幻哲思電影,也是他重回故鄉波蘭拍攝的歸鄉代表作。 這部充滿爭議的杰作,安德烈以非常風格化又帶著原始情欲的方式,傳達其所鐘愛的命題:一則后現代主義式的寓言。故事的結局,地球人不但改變原本的內在,連外在也慢慢變成介于人與鳥的中間物種。這種由內而外,進而轉化成另一物種的隱喻,也為這部猶如政治寓言的科幻史詩,更添加了奇幻色彩?! ?977年當影片拍好八成時,新上任的波蘭文化助理大臣禁止此片拍攝,并下令銷毀場景、布置和服裝,直到1986年波蘭民主化,本片才跟著其它禁片出土。本片同時也發掘了戛納影后克里斯提娜·楊達的潛能,拍攝這部處女作不久,她成為基耶斯洛夫斯基及瓦伊達最喜愛的女演員,也成為波蘭的國民影后。
《午夜場》講述了戲院經理林梅(范夢飾演)與戲院大小姐子君(馮言彥飾演)是無話不談的閨蜜,在子君即將結婚前,無意間發現林梅好似和自己的未婚夫家俊(鄧先宇飾演)有著某種不為人知的關系。某一天,在他們工作的三十七號古宅內,一場備受關注的木偶劇目正在上演,而神秘的木偶附身也即將開始。隨著現實詭異畫面與林梅的夢境交織,令人意想不到的真相浮出水面!
佐藤保和佐藤幸性格截然不同卻莫名投緣,一路從相識交往走到結婚生子。保曾多次參加司法考試卻屢屢落榜,沒想到陪他備考的幸卻先通過了考試,成為了職業律師。一邊是邋遢的律師妻子,一邊是被育兒壓得喘不過氣的落榜丈夫——這對夫妻之間維持著微妙的平衡,在歡笑與心酸中勾勒出一段真實的愛情故事。本片主演為憑借《惠子,凝視》獲得第77屆每日電影最佳女主角的岸井雪乃,以及憑借《利己主義者》獲得第78屆每日電影最佳男配角的宮澤冰魚。兩人的默契演繹為影片注入真實的情感張力,折射出現代社會中人與人之間的溝通困境,探討了人們與“他人”之間的理解與妥協。