影片以日记的形式呈现。无所事事的年轻人米歇尔(马丁·拉萨尔 Martin LaSalle 饰)在赛马场目睹了一个小偷偷窃的全过程,他被小偷那自信优雅的手法所吸引遂即加入了偷窃的勾当。爱读书,坚持虚无主义哲学思想的米歇尔坚信偷窃是一种手指的芭蕾,一场完美的行窃就像一场精彩的行为艺术。米歇尔有一个久违的病重的母亲,在去探望的时候结识了一直照顾他母亲的邻居珍妮(玛莉卡·格林 Marika Green 饰),漂亮的珍妮唤醒了米歇尔心中沉睡已久的感情。米歇尔被警察盯住了,警长虽然三番五次的给了他改过自新的机会,但米歇尔依旧沉迷于他的“艺术”中无法自拔,很快,米歇尔被捕了。 珍妮来狱中探望米歇尔,她向他袒露了自己的真情,米歇尔在泪水中猛然醒悟,当生命中还有所爱的人存在,生活就不会是一片虚无。
When 10-year old Olivia's Mom goes on a business trip for the weekend, she leaves Olivia home alone with her 17-year-old brother Miles in charge. The first night, Olivia falls asleep on the couch, and wakes up, not realizing how late it is. She walks her dog Charlie without Miles knowing, and witnesses a young woman being kidnapped on the empty New York City streets. Olivia runs home and tells Miles, but he doesn't believe her. The next morning, she explains what happened to local cops, and they don't believe her either! Only a cynical female detective named Dottie (played by Academy Award winner Susan Sarandon) listens to Olivia, but she too is skeptical. Undaunted, Olivia bravely launches her own investigation, putting herself into perilous situations. Her can-do spirit ignites one extraordinary adventure after another. Can she outwit the bad guys and convince her brother and Dottie of the truth in time to save the day
故事发生在二十世纪的一个英国小镇里。古淳(格兰达·杰克逊 Glenda Jackson 饰)和厄苏拉(珍妮·林登 Jennie Linden 饰)是情同手足的两姐妹,姐姐古淳在学校里担任教师的职务,性格严谨而刻板,妹妹厄苏拉不久之前才回到家乡,身为自由派画家的她向往着无拘无束随心所欲的生活。 在一场婚礼中,姐妹两人结识了鲁伯特(阿兰·贝茨 Alan Bates 饰)和杰拉德(奥列佛·里德 Oliver Reed 饰)两名男子。厄休拉和鲁伯特坠入了情网,并且携手走入了婚姻的殿堂。与此同时,古淳和杰拉德之间也产生了暧昧的情愫。四人前往瑞士度假,在那里,古淳邂逅了一名风流倜傥的雕塑家,移情别恋。这让杰拉德感到无法接受。
贝茜•布鲁姆(凯特温斯莱 Kate Winslet饰)是纽约某新闻杂志的知名记者,她接到了一个任务是去采访一名死刑犯大卫•戈尔(凯文•斯帕西 Kevin Spacey 饰)。戈尔的罪名是强奸并谋杀了康丝坦斯•哈拉维,并将于周五下午6点被处以死刑,那么布鲁姆将要采访并记录的就是戈尔人生最后的三天,而此前戈尔拒绝了一切采访。布鲁姆起初对这个任务很不以为然,但在和戈尔的接触过程中,她发现一切并非表面呈现的那么简单,于是布鲁姆决定用仅剩的三天开始寻找真相…… 电影《大卫戈尔的一生》的导演艾伦•帕克凭借该片提名2003年柏林国际电影节金熊奖。
The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
人到中年的安妮(克里斯汀·韦格 Kristen Wiig 饰)仍旧一事无成,浑噩度日。交往已久的男友只是把她当做情人,并无与她组建家庭的打算。此时,安妮的好友莉莉安(玛娅·鲁道夫 Maya Rudolph 饰)突然要结婚了,并邀请了包括她在内的几名女性好友组成伴娘团。伴 娘团之中的海伦(萝丝·拜恩 Rose Byrne 饰)家底深厚且八面玲珑,倾力为莉莉安打造奢华订婚礼。安妮不满海伦主导订婚礼筹备,处处与其针锋相对,试图向莉莉安昭告她深厚的情谊,但每次努力都令众人不悦,反而引致莉莉安的不满。 同时,安妮也开始面对人生中的诸多问题。交警罗兹(克里斯·奥多德 Chris O'Dow 饰)的出现似乎为安妮打开了另一扇窗。安妮能否摆脱这些困境,步入生活的正轨呢?