少爷与我的罗曼史电视剧

远离人世尘嚣，位于阿尔卑斯川原的一栋房屋，迎来了新的主人。男主人提奥（凯文·贝肯 Kevin Bacon 饰）是一名小有名气的编剧，为了寻找新的创作灵感，他带着妻子苏珊娜（阿曼达·塞弗里德 Amanda Seyfried 饰）和乖女儿艾拉（艾芙莉·蒂优·埃塞克斯 Avery Tiiu Essex 饰）搬到了这个宁静所在。起初一切和谐幸福，只是空气中似乎藏着什么不为人知的可怖存在。噩梦、黑影、响动、幻觉，时不时侵扰着一家人。这天提奥察觉妻子对自己不忠，二人发生争吵后，苏珊娜独自离开。在此之后，诡异现象愈演愈烈，期间女儿神秘失踪，提奥则发现这栋房子仿佛变成了没有尽头且变幻莫测的迷宫。他试图带着艾拉离开，却正如日记本中写道的那样“你本应离开，但为时已晚……”本片根据德国作家Daniel Kehlmann的同名小说改编。

戴维（伍迪·哈里森 Woody Harrelso 饰）和黛安娜（黛米·摩尔 Demi Moor 饰）是一对感情很好的夫妻，两人事业成功，生活幸福，但经济萧条的到来使两人工作每况愈下，甚至连住房都无法操持。他们不甘以失败，下决心去赌城一搏。开始时，他们运气极好，但很快，两人就输光了所有的钱。这时，一位年老英俊的百万富翁盖奇（罗伯特·雷德福 Robert Redfor 饰）提出帮他们，但条件是用100万换取与黛安娜共度一夜，终于，金钱的诱惑力战胜了一切，夫妇两人立下了字据，做了桃色交易。两人回到家中约定永不提此事，但事与愿违，两人感情出现裂痕。这时，盖奇又进入了他们的生活，热烈地追求，戴维一气之下离家出走。最终这一对曾经的爱人是否能够既往不咎？而百万富翁究竟是真心爱着戴安娜，还是另有其他目的？

江户时期武家女儿阿露和浪人新三郎，俩人因某件事相识相恋，但其后阿露遭人杀害。即使这样还想继续发展情路的阿露变成幽灵出现在新三郎面前。散发死亡预感和情色小说香味的唐十郎版《牡丹灯笼》。本剧是根据《牡丹灯笼》改编的古典怪谈青春物语。

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.