女教师纱也香

提斯先生是一个神经过敏的单身汉，由于久居都市，缺乏调济，变得疑神疑鬼，终于有一天，他竟然发觉自己患了一种怪病，能够一眼望穿面前女子的衣裙，直视到佳人玉体横陈。这一天赋异禀由不得他自制，时刻盘据在身，甚至在牙医手术椅上待诊时，护士小姐的豪乳也似乎直逼眼前，令他窘态毕露，最后不得不夺门而出，四处求医。

画皮师雀妖长绵是画皮坊最好的画皮师，她从小被束缚奴役在画皮坊，过着苦涩的生活。年幼时，一次逃跑她遇到少年将军首阳，首阳的温暖关怀令她终身难忘。首阳在一次大战中假意归降妖族，等待时机杀死妖王。妖王下令长绵去抓首阳未婚妻秋桑为人质。经过一些列的事件后，首阳将长绵带回妖城，长绵顶替秋桑成为首阳的妻子。她画皮成为妖王，前去见首阳，用生命赎罪。

十八世纪，让-马普蒂斯特?格雷诺耶（本?韦肖 Ben Whishaw 饰）出生在巴黎最肮脏、最恶臭不堪的地方——鱼市场上。格雷诺耶天生对气味有着惊人的天赋：无论恶臭还芳香，他都一一记住，并能轻易分辨各种气味。当他在孤儿院长到13岁的时候，被院长卖给了制皮匠。格雷诺耶在制皮铺过着犬马不如的生活。机缘巧合，格雷诺耶在香水巴尔蒂尼面前展露了其过人的天赋，进入了香水铺工作。但格雷诺耶并不仅仅满足于制作出世界上最芳香的香水，他梦想学得如何保存万物气味的方法。巴尔蒂尼告诉格雷诺耶香水的起源地在格拉斯，那里的人知道保存气味的方法。格雷诺耶拿着巴尔蒂尼的推荐信来到了格拉斯。格雷诺耶爱上了青春少女的体香，为了把这种香味保存下来，格雷诺耶最终走上了杀手的道路。

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.