龙族江南

范坚强(徐峥 饰)是一名国家二级咨询师，开着一家普通的心理诊所，挣着一月四千的工资，无房无车，却有着一个性感美丽的空姐女友苏茜(林鹏 饰)。中秋节是他和女友约定好拜见岳父岳母的日子，在紧急结束了对病人掉坑男（仁龙 饰）的心理治疗后，和女友开着向死党吴奋丹(郭明翔 饰)借的车从上海开往苏茜父母杭州的家。一到苏茜家，范坚强就被眼前别墅的规模震撼的瞠目结舌，而更他吃惊的是，苏茜的父亲，竟然是自己的病人风衣大叔苏伯虎(许绍雄 饰)。苏伯虎是一名很有名望的经济学教授，分外看重名声的他不相信范坚强的职业操守，担心着自己不为人知的秘密被范坚强所泄露，令自己身败名裂，所以一心想要把范坚强赶走。而范坚强事先准备的应对岳父岳母的考题也无法骗过先前为自己出谋划策的苏伯虎，只得坦诚相待。知根知底的二人一见面就冲突不断，笑料百出。一穷二白的范坚强到底能否获得岳父的认可，最终搞定岳父大人？

50年代的美国，年轻女子特芮丝（鲁妮·玛拉 饰）在纽约百货公司担任售货员，但心中向往的却是摄影师工作。某日，一位美丽优雅的金发贵妇卡罗尔（凯特·布兰切特 饰）来到百货公司购买圣诞节礼物，结果和特芮丝一见投缘。两人相识后特芮丝得知原来卡罗尔有一个女儿，而且正和丈夫哈吉（凯尔·钱德勒 饰）办理离婚手续。通过书信来往、约会相处以及公路旅行，特芮丝和卡罗尔发现彼此就是自己的真爱，然而在当时社会这是不被允许的。特芮丝的男友认为她只是一时迷惑，卡罗尔的丈夫则请私家侦探调查取证，希望在离婚诉讼中让她一无所有。考验两位女性的时刻终于到来了：在社会压力下她们能否坚守内心、不计代价的把感情路走到底？《卡罗尔》是美国著名独立导演托德·海恩斯的新作，入围第68届戛纳电影节主竞赛单元，获得最佳女主角奖。电影根据派翠西亚·海史密斯在1952年匿名发表的中篇女同小说《盐的代价》改编，由于题材敏感，最初出版社还拒绝发行。之所以叫“盐的代价”，因为在17世纪“盐”还有另一个意思表示女性的情欲。而在本书中它隐喻了女主们的处境：没有爱情就像没有盐的肉；那么为了这份爱，你愿意付出多少代价?

贤友（张赫 饰）是一位小有名气的作家，自从被前女友无故抛弃之后，对爱情和女人都失望透顶的他开始了自暴自弃的淫靡生活。民锡（赵东赫 饰）家中有着美艳动人的娇妻寿妍（李敏贞 饰），可即便如此，他依然管不住自己向往花花世界的心，身边女伴你来我往令人目不暇给啊。镇赫（李相宇 饰）是贤友和民锡阔别多年的好友，曾经的青葱小子，如今已经成为了小有成就的国际金融专家。镇赫此行归来不仅见到了还有，还见到了当年的初恋情人——寿妍。久别重逢，镇赫和寿妍的心中都有千言万语却难以表达，随着时间的推移，激情的火花燃起一发不可收拾。

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.