青楼春上春

无法沟通的父子在一个单亲的巢里相依为命。父亲是儿子唯一的朋友和经济支柱，并努力让他和这个世界产生连结。父亲永远陪伴着儿子，尽管两人总是彼此噤默。两人一起捡满屋子的宝特瓶，一起画几百张重复的蜂窝，一起折几千张色纸搭成的巨塔，一起捡贝壳、抓蜗牛、吃饭睡觉。他们是彼此的唯一，少了谁，就不完整。

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.

1944年，日本大阪某兵营。一等兵木谷在陆军监狱服役二年，刑满释放归队。他被指控的罪名是盗窃罪，但他一直对此不予以承认，当时的情况是：木谷捡到钱，被丢了钱的林中尉看见，因此控告木谷“盗窃”。木谷归队后被编入峰中队长的中队第一班，这里的士兵都讨厌木谷，只有大学生曾田一等兵，和他成了好朋友。一次，曾田偷听到班长想把木谷赶走并把他编到野战军，曾田把这些告诉了木谷。木谷闻言大怒，他把全班士兵包括比自己军阶还高的上等兵在内的，都痛打了一顿，甚至对曾田都不例外。暴怒之下，木谷找到曾将自己送进监狱的林中尉捧了一顿。为了逃避去野战军的命运，他翻墙逃跑，却还是被抓了回来。等待着他的，只有血腥的战场和死亡的随时降临。

作为台湾某个高三补习班的学生，明贤（马志翔）因为爱上不该爱的（心已属他人的）静芬（黄嘉千），在人生的十字路口选择与他的同龄人背道，慢慢走到无路可退的境地。作为他的好朋友，启文（范植伟）在作过各种形式的“拯救”努力后，发现他俩的青春并没简单到每日清晨可以安心去小食店喝碗咸 豆浆，而似断了弦的吉他，于是决定陪他放弃联考。启文的决定令他失去女友，亦失去对自我生命的自信。当他以为跌倒了再也站不起来时，却因为楼下的神秘女郎又有了勇敢的二十岁。而经过与神秘女郎的短暂相处，启文更深地了解到生命的多样和残酷，晓得原来自己亦可给人以快乐、满足和希望，懂得生命中不可或缺的那剂佐料是由坚持和乐观搭配而成。