素素、国产花花和菲菲是情同手足的三姐妹，国产彼此之间感情十分亲密。她们三人本都是狐狸，因为吸收了天地精华，经过了漫长的修炼之后法力渐长，最终拥有了人类的外貌，来到了纷纷扰扰的人世间。在人间，三人遇见了名为吴明（单立文 饰）的男子。吴明只是一介穷书生，却散发着致命的吸引力，姐妹三人先后都拜倒在了他的脚下。然而，三人很快便发现，自从认识了吴明之后，她们的功力便与日递减，甚至到了难以维持人形的地步，这一切一定和吴明有着关联。原来，吴明的真身是五通神魔，靠吸食女精增强自己的法力。为了抵挡贪婪的五通神魔，三姐妹找到了德高望重的道
灭火器乐团
回复 :一个十八岁的少女阿雪，因家境贫困，被卖予刘姓老头为妻。刘老头个性变态，阿雪每天白天做家务，晚上还得承受刘老头的种种性虐待。某日，阿雪偶偶逃犯华仔，两人一见钟情，开始交往……
教练乐团
回复 :杰西是一个由他人代养的孩子，离家出走逃到海洋公园，跟那里的鲸鱼交上了朋友。当黑心的公园主为了骗取保险金，打算杀死鲸鱼时，杰西自然会奋不顾身救朋友一命。影片的模式有点像《外星人》，但煽情技巧更初级。影片包含着对天然、对动物的热爱，适合当作儿童素质教育的材料。
李宣筠
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
