靓妹仔

　　三名小打小闹的少年犯安格尔、戴维斯和布奇被关进一所惩教中心，负责他们的是一名外强中干的管理员，很快三名少年就要在成为受害者还是施暴者之间做出抉择。

　　故事设定在二战期间的巴黎，此时巴黎已被纳粹德国占领，霍夫曼先生因为自己的犹太人身份，不得不让家人先走并将自己的珠宝店托付给自己的下属梅西埃。但是人算不如天算，就在梅西埃与妻子布朗什入主珠宝店没多久，霍夫曼先生再次出现在珠宝店里。由此，三个人的命运纠缠在了一起。

　　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.

所有的悲剧都发生在那个万圣节的夜晚，维克托因为那副连亲人都不喜欢甚至嫌弃的丑陋长相，邻居家的孩子们都往房子里投掷鞭炮，就只是为了愚弄和吓唬"傻大个"维克托，然而，他们不知道的是，罗克利家的老房子是由那种易燃的朽煮浆道木头建成的，结果可想而知，鞭炮的火星点燃了房子……当维克托的父亲回到家时，房子已经被大火包围了，惊悉维克托仍然被困在房子里后，父亲冲进谷仓，拿起一把短柄斧，拼命地冲着房门砍去……但是他不知道受到惊吓的维克托其实就躲在门后，正在想办法打开门逃出来。父亲手中的斧头于是就这样不幸又意外地砍在了维克托的脸上，可怜的维克托一命呜呼。从此以后，那个经历了丧子的痛苦的老男人的后半生都沉浸在自责与悲哀中不能自拔，他不肯离开房子一步，不肯与其他人交谈，渐渐和所有人都断了联系。差不多10年后，他抑郁而终。

…

　　在阿根廷与荷兰的世界杯决赛期间，在军事独裁统治时期，一群刑讯逼供者暴力闯入一户人家，绑架了一群年轻人并将他们带到一个秘密拘留中心。
　　起初的反人性审讯变成了真正的殉难：一群不好惹的人被绑架了。原来他们是由未知超自然力量引导的恐怖邪教组织的成员。秘密拘留中心即将变成炼狱本狱。

　　故事发生在第二次世界大战期间，为了躲避战火，坚强的母亲塞西拉（索菲娅·罗兰 Sophia Loren 饰）带着13岁的女儿罗塞塔（艾伦诺拉·布朗 Eleonora Brown 饰）离开了他们的故乡罗马，暂时来到地处偏远的小镇西赛罗定居。在这里，塞西拉结识了准备成为医生的小伙子米凯尔（让-保罗·贝尔蒙多 Jean Paul Belmondo 饰）。
　　米凯尔是一个生性浪漫的男人，热爱文学，他教罗塞塔识字读诗，久而久之，罗塞塔爱上了他，可是很显然，米凯尔的目光始终锁定在塞西拉的身上。为了帮助塞西拉搞到食物填饱肚子，米凯尔来到了父亲的朋友家，哪知道在那里遇见了一个德国军官，德国军官强烈谴责米凯尔不上战场的行为，并且打算强行把他带走。