内容简介
张君佳是鹭洲一中高二八班的一名普通高中生他每天枕于幻想，经常梦见自己被成群的丧尸追逐。艺术节就要到了，他决定组织同学们拍一部“校园丧尸片”。期间，学校里“行尸走肉”，笑料百出。但这个草台班子也遭遇了来自学校和家长的重重压力，小剧组几次濒于崩溃。然而，友情、亲情，和爱情交织成的共同经历却让大家重新定义了青春，收获了成长！可就在临近学校艺术节时，电影又出现了意想不到的状况… …
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◎3.9▶罗姆男孩
意大利南部吉普赛人聚居的社区，典型的贫穷混乱。十四岁少年渴望早日长大，像哥哥那样自力更生。他抽烟喝酒，从哥哥身上学会偷窃技能，不识字不打紧，认得钞票才实际。哥哥被捕，他变本加厉，偷车兼入屋爆窃，其间认识了非裔青年，骤觉人间有情。然而最后发现，成人礼的代价，是要懂得背叛与 无情。 美籍意大利裔导演乔纳斯·卡皮纳诺三年前拍过同名短片，这次得马丁·斯科塞斯跨刀监制，起用非职业演员，捕捉贫民区的鲜活实感。代表意大利角逐奥斯卡最佳外语片。
◎3.3▶老男孩猛龙过江
本片讲述了倒插门被媳妇全家嫌弃的王小帅（王太利 饰）面临生活困境，决心放下一切实现梦想，于是他找到了老同学肖大宝（肖央 饰）。曾经因为拉大提琴的女孩马璐（屈菁菁 饰）而分道扬镳的两人又聚在了一起，决定前往美国勇闯选秀节目。两兄弟千辛万苦来到纽约，却阴差阳错卷入了黑帮斗争事件。虽然他们只想取得好名次，但是却引发了一系列爆笑事件，更让他们摸不着头脑的是两位来自朝鲜的神秘杀手竟然也和此行有关。万般无奈之下两个“老男孩”决定这次把大的！能不能成功逆袭，会不会惨死他乡就看最后决赛！ 《老男孩猛龙过江》是5年前爆红的微电影《老男孩》的大电影延续。
◎7.7▶站长夫人
深情呆滞而步履沉重的保尔维泽很不幸地娶了镇上有名的妖妇；他的老婆几乎和任何男人都上床，这样使得老实的保尔维泽陷入严重的困境……
◎7.8▶就这样，我们把金鱼放入了泳池
影片根据真实事件改编，4名少女把400条金鱼放入某中学泳池，电影围绕着少女们犯罪前后的日常生活展开
◎4.3▶黎巴嫩
影片讲述了一个真实的故事，1982年6月黎巴嫩战争的第一天，四名年轻的以色列士兵独自驾驶一辆坦克，被要求配合一队地面士兵作战。该部队的第一个任务是进入黎巴嫩平民村庄，清除那些看上去明显是巴解放组织的恐怖分子。指挥官贾米里描述特派团的行动要领是要“迅速简单”，然而随着士兵进入村庄，看似简单的任务很快变得复杂，最终变成了一场屠杀噩梦。在特派团出动那一刻起，他们和其他部队失去联系，四名士兵就被带到了一个死亡陷阱当中。 《黎巴嫩》表现了混乱复杂的中东战争，这部电影不可避免要涉及到政治问题。但最重要的则是，导演希望通过电影描绘四个二十出头年轻人的惊醒，他们突然发现自己身处杀害平民的残酷现实中，杀人成为他们必需做的事情。他们都不是英雄，也没有人想成为英雄。他们的生存本能和人性价值观在激烈斗争，这是一出毛骨悚然的人间悲剧。
◎6.1▶雷蒙德和雷
故事描绘一对同父异母的兄弟，尽管长年生活在失败又失职的父亲阴影下，却能在晦暗生活中，发挥幽默天性相互扶持。就在命运突然向他们开启一扇机会之窗，父亲的辞世，带来的是崭新开始还是强迫面对充满伤痕的过去？
◎4.8▶胭脂扣
报社记者袁永定（万梓良 饰）遇到了一位前来登寻人广告的女子如花（梅艳芳 饰），无意中才发现了该名冷艳的女子原是鬼魂，早在50年前，她是一名红牌妓女，结识了一名纨绔子弟十二少陈振邦（张国荣 饰）。如花深深爱上了这名多情的公子，两人已到了谈婚论嫁的地步，由于身份悬殊，遭到了十二少家人的极力反对。无奈之下，他们以胭脂扣定情，一起吞鸦片殉情。如花未能在地府看到自己的爱人，便到阳间寻找。 如花在两名记者的帮助下，得知原来当年十二少被人救活了，如今生活潦倒。面对十二少的懦弱，如花伤心欲绝，把胭脂扣返还，回到阴间投胎转世。
◎5.8▶人蛇偷渡
跨国偷渡引发货柜死人命案，引起国际社会关注，各国警方联手侦查，打击此类犯罪勾当。香港警方为洗刷偷渡转运站的污名，派出青年干探行宇远赴纽约，配合当警方，侦查有组织偷渡集团罪案。当地警委派行宇到唐人街卧底，调查不法活动的线索与真相。行宇及时向纽约警方提供情报，令人蛇集团的生意大受打击，有力阻止了偷渡罪案。在纽约警方配合下，行宇查出偷渡人蛇的方式和路线，终于将歹徒绳之于法，一网打尽。
◎9.1▶情欲失格
一九三五年美国波士顿一对上流社会的夫妇想要拥有孩子，可惜先生亚瑟（威廉赫特饰）不孕，太太艾琳娜（麦德琳史道威饰）建议老公不妨花钱找人让她怀孕。亚瑟同意了，于是在哈佛念法律的学生罗杰（尼尔派崔克哈里斯饰）雀屏中选。 刚从英国来到美国波士顿的麦克基隆神父（肯尼斯布莱纳饰），一心只想传递福音，刻意避开上流社会，不想与他们往来。然而，当亚瑟发现罗杰喜欢上艾琳娜，扬言要杀了罗杰时，无助的艾琳娜找他求助……没想到一向心海无波的神父，竟也爱上魅力无边的艾琳娜……
◎9.3▶图雅的婚事
内蒙古日渐干旱的草原上，丈夫巴特尔（巴特尔 饰）为了掘水井而双腿残疾，妻子图雅（余男 饰）勤劳善良，性格泼辣。她一个人挑起了家庭的重担，照顾孩子，但长期的劳碌让她的腰椎病变，甚而也有下肢瘫痪的危险。为了不再耽误图雅，卧躺床上的巴特尔决意离婚，在现实面前，图雅也只能同意。但她坚持提出自己再婚的条件：新丈夫必须和自己一起供养巴特尔。由此，图雅开始了艰难的择夫历程，附加条件让许多前来求婚的男人打了退堂鼓。 邻居森格（森格 饰）素来怕老婆，其妻却常跟别的男人出走，并一走了之。他对图雅情苗暗生…… 本片荣获2007年第57届柏林国际电影节金熊奖。
◎3.4▶关于在短时间内的某几个人的经过
Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts. These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves. Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished. Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives. Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production. The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation. Our camera has captured for you a few aspects of a provisional microsociety. The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning. This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them. The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued... Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...� Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations. Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality. On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time. Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom. Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive. Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language. Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever. The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns. What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality. Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations. Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep. Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world. Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past. Voice 2 Years, like a single instant prolonged to this point, come to an end. Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it. Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything. Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time. Voice 1 Really hard to drink more. Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot. Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed. Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need. The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life. To really describe this era it would no doubt be necessary to show many other things. But what would be the point Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories. 1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.
◎5▶丛林热
佛利珀（韦斯利·斯奈普斯 Wesley Snipes 饰）是一名建筑师，和妻子德鲁（萝内蒂·麦基 Lonette McKee 饰）过着非常平静的生活。一天，佛利珀招到了一名新的助手——拥有意大利血统的白人女性安吉（安娜贝拉·莎拉 Annabella Sciorra 饰），很快的，两人就在工作中碰撞出了爱情的火花。 佛利珀开始了和安吉的地下恋情，佛利珀将这件事情告诉了自己的好友塞勒斯（斯派克·李 Spike Lee 饰），而安吉也对自己的男友波利坦白了。很快，这段逾越了伦理界限的感情就被德鲁发现了，愤怒的德鲁将佛利珀赶出了家门，而佛利珀的父亲也不愿意接纳自己的儿子。