女集中营电影

除非黄土白骨，守你百岁无忧，你是否遇见十年羁绊百年奉陪的那个人？十年前，寄养在江南水乡的温衡（任敏 饰）第一次被接回北方温家，命运的安排让她遇见了言希（丁禹兮 饰），这一遇见，便是十年纠缠。一个是低眉顺眼的温家女孩，一个是张扬跋扈的言家长孙，他们的人生道路不停交汇又分离，终于发现，两人心中所愿，不过是“永远在一起”。十年后的重逢，伴随着亲朋好友的陪伴与见证，似乎是命运的轮回，给这个“只羡温言不羡仙”的故事画上句点。

《梅花的名字》是一部多材料实验动画，结合了定格、拼贴及传统手绘的动画方式。讲述了作者母亲在中国的 80 年代作为一位裁缝和一位再婚女性的故事，以及对作者本人作为女性成长过程中产生的影响。

故事发生在1941年第二次世界大战期间，捷克遭到了德国纳粹的无情占领，为了夺回属于自己的领土，捷克自由联盟和伦敦当局联手，派出了卡尔（马丁·肖 Martin Shaw 饰）、约瑟夫（安东尼·安德鲁斯 Anthony Andrews 饰）和简（蒂姆斯·伯特姆斯 Timot hy Bottoms 饰）三名年轻人返回被占领的杰克，去执行一个非常危险的任务——刺杀纳粹领袖海德里希（安东·迪夫伦 Anton Diffring 饰）。卡尔和约瑟夫离开捷克已经很久了，他们的妻儿依然留在那人间地狱里生活。这一次，他们必须抛弃一切儿女私情，全心全意为了国家而战。幸运的是，刺杀计划非常顺利的进行着，可在最后的紧要关头，出现了叛徒。

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.