剧情简介
导演刘冰将镜头对准了从小与自己一起玩滑板的好友们。年纪最大的Zack初为人父，女社新生儿的降临似乎让Zack一夜之间长大，女社但随之而来的生存压力与家庭矛盾也让他接近崩溃。Keira刚刚成年，初入社会的他充满迷茫，纪录片的拍摄给了他重新审视自己的过往与家庭，以及周遭一切的契机。刘冰也交出镜头，讲述了自己的故事，是什么让他选择了滑板？又是什么促使他拍摄了这部纪录片？
女社员视频
导演刘冰将镜头对准了从小与自己一起玩滑板的好友们。年纪最大的Zack初为人父，女社新生儿的降临似乎让Zack一夜之间长大，女社但随之而来的生存压力与家庭矛盾也让他接近崩溃。Keira刚刚成年，初入社会的他充满迷茫，纪录片的拍摄给了他重新审视自己的过往与家庭，以及周遭一切的契机。刘冰也交出镜头，讲述了自己的故事，是什么让他选择了滑板？又是什么促使他拍摄了这部纪录片？
玺恩
回复 :史黛丝是一名警察，主要处理儿童诱拐案件，由于她经手的最后一个案件，正饱受创伤后应激障碍的折磨。史黛丝回归工作岗位后不久，她十几岁的女儿莎拉竟被绑架了。史黛丝能否克服障碍，把她的女儿从一个情绪不稳定的绑架者手中解救出来······
詹航
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
何建清
回复 :电视导演史提芬及主持洛亦薇，往马六甲及马来西亚拍摄红鬼仔搜秘录，传说中的红鬼仔为一侏儒巫师，因修炼邪术被关进石棺，红鬼仔死前曾立上毒咒诅咒擅闯墓地者。拍得石棺片段后，翌日史便回港，并带同原属红鬼仔的金尊佛。薇及摄制队往婆罗洲拍摄长屋，得到屋长热情招待，当晚摄制队成员更经历了当地的试婚风俗。那天后怪事接二连三发生，摄制队成员离奇暴毙。屋长为此往见巫师，原来薇中了天蝎降，并误杀屋长。巫师往问米...
