龙是一化名为麻雀侠的正义隐士。在一次正义行动中，竟被好友胜出卖，虽最后拼死杀出重围并被一老伯救起，但却失去了记忆，住在老人院。胜以为龙死了，乘机拼吞了龙的所有财产，成为一名富豪。就在此时，龙在老人院教授老人们习武，让他们从麻雀中解脱出来，奈何受到医生强的阻挠。可是，老人们却发现习武后身体越来越好，于是大家都来和龙一起练习，龙也在习武中一点一点地恢复了记忆，并和医生的助手倩产生感情。老人的身体好后受到记者采访，龙也成了名人，在电视中胜得知龙还未死，派出大量杀手到老人院狙杀龙，在殊死边缘时，龙得到因习武而充满活力的老人帮助，把一个个恶棍治服，送到警察局，胜也受到应有的惩罚，恢复记忆的龙继续住在老人院，龙还是正义之士 “麻雀侠”，在黑夜中飞舞着他的影子…
获柏林电影节评审团大奖。影片取材于意大利文艺复兴时期薄伽丘的著名小说集《十日谈》，帕索里尼从中挑选了8个（亦有说10个）发生在那不勒斯等意大利南部地区的故事进行拍摄（原著中以佛罗伦萨地区故事为主），这些故事大多以揭露教会虚伪丑恶本质为宗旨，并鲜明地表现了作者对人性解放的肯定态度。 原著《十日谈》是意大利文艺复兴时期最重要的文学作品之一，它以十四世纪黑死病横行的时期为背景，通过十位青年所讲述的一百个故事，大胆鞭挞了当时天主教会的种种丑行，表现出平民阶层追求自由、摆脱宗教束缚的渴望。这部现实主义风格明显的作品堪称欧洲古典文学的杰作，被后人誉为和但丁《神曲》齐名的" 人曲"。 意大利新现实主义影片后期崛起的导演帕索里尼，延续了自己六十年代以古代神话题材警醒当今世人的创作路线，以相对通俗化的手法连续改编拍摄了《十日谈》、《坎特伯雷故事》和《一千零一夜》三部古典名著影片，合称"生命三部曲"。因为这三部影片中裸露镜头较多，又采用了较为通俗的娱乐片路线，有的电影学者也称之为帕索里尼的"色情三部曲"。对此帕索里尼本人阐述了自己的创作观点："我向观众表现的是整个世界，封建的世界，在这个世界里，情欲极其深刻而狂热地起着支配一切的作用。……我要推出这个世界并且说：你们可以比较一下，我要向你们表明，我要向你们诉说，我要向你们提醒。"
Murayama Kaita, a Japanese painter, novelist and poet died in 1919 at the age of 22, leaving behind an impressive and time-defying body of work. In his most recent film, Sato Hisayasu offers a surreal, time-crossing, meta-layered essay on the artist, his originality and his legacy. Dear Kaita Ablaze brings together a young woman Azami obsessed with Murayama's painting, a young man Saku, who can hear unusual frequencies and claims to be Murayama or his spiritual imprint and a quartet of young performers with psychic abilities. They bond over Murayama’s work which they recreate in performative dance while driving to a mysterious cave called Agartha. Sato Hisayasu (The Eye's Dream, Muscle, The Bedroom), renowned for his pinku and exploration of madness and lust, returns to IFFR. Dear Kaita Ablaze is hyper-dense, obsessive and driven, effortlessly mashing surrealism with sci-fi and mysticism, layering seemingly unrelated events and encounters to bring them together in a monumental climax. – kijA
Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career. Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.) As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played. The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument). Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
故事发生在元朝末年，失传已久的屠龙刀和倚天剑重现江湖，传闻中，若是能同时拥有这两把宝物，便能破解惊天秘密。一时间，武林之中牛鬼蛇神们纷纷摩拳擦掌，蠢蠢欲动。张翠山是张三丰（张瑛 饰）的五弟子，为了调查师兄遭人暗算的真相下山，在此途中结识了名为殷素素的女子，之后他们受金毛狮王谢逊（罗烈 饰）胁迫，来到孤岛之上，在这里结婚生子，取名张无忌（尔冬升 饰）。 一晃眼十年过去，当张翠山一行人再度回到武林之中时，才发现这里早已经变换了模样，张翠山和殷素素为了守住屠龙刀的下落而死在了众人的围攻之下，年幼的张无忌亦身受重伤。
