双子神偷2国语高清

人都想变美，用种种手段柔和脸庞的弧线，增添脸部的光泽。想马上实现愿望么？要学会运用工具，最重要的是学会“undo”。毕加索的名画《Weeping Woman》，让画中的主角告诉你她“变美”的故事。本片荣获了2005 台北金马国际数位竞赛最佳台湾影片，2005 美国年度电脑动画大展电子剧院观众票选最佳影片奖。

徐青青（郭碧婷 饰）的母亲跟别人走了，只剩下她跟父亲一起生活，她独立经营着古老钟表店。某天，一名叫蔡子涵的男生前来修表，青青认得他，他之前曾睡在她家的门口。这个羞涩的男孩子几天都来找青青修表，他终于鼓起勇气告诉青青他是她的国中同学，青青还在言语间知道这个男孩子是喜欢自己的。自从上次去了山间瀑布之后，子涵就再也没有出现，直到青青打电话到子涵家中。子涵的父母竟告诉青青，他们的儿子已经死去了。当子涵再次出现的时候，青青要去他的家，他果然带到了自己的家。子涵的父母才告诉青青，当年子涵死去之后，柏宇患上了精神分裂，他每天三点钟之后，都会变成子涵。子涵的父母将要搬走，柏宇也将回到美国的父母身边。青青担心自己再也见不到子涵了，她终于踏上了多年来都不敢坐的火车……

This film is about haunting memories of Asia's late 20th-century modernization. The story departs from a 1965 United States embargo on the hair trade, known as the "Communist Hair Ban". Yet, in every wig resides a ghost from the imperial past.Wigs were vital for the rise of the Asian economy in the post-war era. In the heyday of the 1960s, it was the number four export in Hong Kong's export-orientated industrialization. Between Mao's China - the largest source of hair supplies, and the insatiable Western market, Hong Kong functioned as the gateway. In 1965, U.S. Treasury Department imposed an embargo on "Asiatic hair", to cut off foreign currency to Communist China in the hair trade. The highly racialized category of "Asiatic hair" was later revised as "communist hair", to enable the wig industry to develop in U.S. allies including mainly South Korea and Japan, which led to a significant reconfiguration of light industry in East Asia. Departing from the moment of the communist hair ban, through stories of movement, diaspora and migration, this project examines the role of Hong Kong as a transient space that mediates and sanitizes the connection between different worlds, and the relationship between U.S. Imperialism and East Asia order in the Cold War era.Produced by: Ruoyao Jane YaoDirector of Photography: Yavuz Selim IslerCameraman (Hong Kong): Fai WanSound Recording: Franco van der LindeCasting Director: Sai-wang LauMakeup: Ika KartikaColor Grading: Bob LemmVoice-over:Jia Zhao, Hamza Junaid, Tommy TseCast:Zoenie Liwen Deng, Ruoyao Jane Yao, Zoe Tang, Michael de Ross, Sidney Vereycken, Sai-wang Lau, Jo-Lene OngProduced by:Geodesic Studio, Vines FilmsThanks toWAAG Society, Amsterdam16mm Film Transfer and ScanningAndec Filmtechnik, Berlin

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.