哭泣的情人

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.

《不能戳的秘密》由李惠仁執導，描述自2006年至2011年間在台灣所發生之禽流感，因政府官僚隱匿下疫情逐步惡化擴散，深究責任歸屬並警醒防疫缺失的調查報導式議題紀錄片。探討病毒與生物、官僚之間的「共生」關係。禽流感爆發，施打非法地下疫苗盛行血清診斷報告表示了非法疫苗商為取信病急亂投醫的養雞業者，大量實驗疫苗卻造成病毒基因的加速演化。2004年撲殺，政府宣稱全面消除，但原病毒在2006年捲土重來並演化成具高致病性的病毒株。為加入WHO，檢疫官員不敢扯後腿2005年，禽流感國際疫情爆發，台灣為加入國際衛生組織（WHO），誇大防疫成果，也導致時任官員不敢在未爆發前，上報實際已經加重擴散的疫情。獲獎第十屆卓越新聞獎(2011年)電視類調查報導獎[

矢代个性超M又变态的人，从不会让别人看透他的内心。某天身边来了一名叫做百目鬼力的随从兼保镖。虽然早早就下定决心，绝不对不会对部下出手，但矢代不知为何，被百目鬼所深深吸引。彼此怀抱着自己的伤痛而活着的两人，他们的故事即将开始。

本片是一部农村励志喜剧，讲述了退役运动员肖力在父亲的“激励”下，带领村中女童足球队赢得比赛挽救学校的故事。该片展现了人们为了美好生活共同奋斗中的亲情，爱情，师生情等动人情谊，表达了努力踏实向上就能获得美好人生的思想内涵。