一周的朋友(2022)

　　「ある事情で放送禁止となったVTRを再編集し放送する」という設定のフェイクドキュメンタリーで、2003年にテレビ版第1作が放送されて以降、カルト的人気を誇る「放送禁止」シリーズの劇場版第3作。あることがきっかけで強い洗脳を受け、幸せな家庭を崩壊させた元主婦・江上志麻子に何が起こったのか、その真相を解き明かすため、心理セラピストの小田島霧花は志麻子の洗脳を解くことを試みる。霧花の親友でもあるビデオジャーナリストの鷲巣みなみは、その過程をカメラで追うが……。

　　Waldo and Irene have been living with Margit for the four years that they have been engaged. Margit has planned the wedding and the honeymoon - in fact, Margit plans everything down to what they will have for breakfast every day. The only problem is that Waldo is a milquetoast and Irene does not want to be married to a milquetoast. So she says she is in love with Charlie, a bohemian artist/producer who lives in a trailer behind Spike's Place. When Margit confronts Charlie about giving up Irene, Charlie sees that she is the one for him. To make everyone happy, Charlie will have to help Waldo get a backbone. Written by Tony Fontana {tony.fontana@spacebbs.com}

　　本片与描写悠闲日常的短篇故事不同，是为了剧场电影化而由原作者中村光所描写的原作小故事。广阔宇宙中为数众多的一颗璀璨闪耀的生命之星——地球，平安度过世纪末的神之子耶稣和开悟佛的佛陀，一边感受着日本的四季变化，一边在下界享受着秘密的休假。两人住在东京立川没有浴室的6张榻榻米的一间公寓，分享冰淇淋，在附近的商店街享受抽奖，结成搞笑组合。某天，来自天界的使者出现在过着悠闲日常生活的两人身边，传达了禁断的提议。不久，神、佛、天使、恶魔混杂在一起，与意想不到的地球灭亡危机联系在一起！?

　　李昊与龙哥、阿正开一间小酒馆。一个女孩的出现改变了平静的酒吧，李昊对她一见钟情，本想用歌声打动她，却被前来找她的男友阿坤看到了这一幕，阿坤有权有势，趁着夜深人静的时候，把酒馆砸了个稀巴烂。
　　雅兰本打算把自己的身子给李昊，李昊和阿正却被阿坤手下打成了重伤。眼看着所有人的梦想就此破灭。李昊知道由于自己所谓的爱情，让兄弟们放弃了心中的梦想。最后，李昊独自一人去找回失去的尊严，重新点燃兄弟们的梦想......

　　这部电影讲述了一位29岁的日本记者伊藤诗织的动人故事，她声称自己是在2015年的一次工作晚餐会上被时任东京广播公司华盛顿分社的社长、日本首相安倍晋三的传记作者山口敬之强奸。但山口先生强烈否认了这一说法。
　　尽管向警方报案，但警方要求伊藤用真人大小的娃娃重新模拟所谓的强奸案，该案件经过一年的调查后被撤销。当伊藤采取前所未有的决定公开她的指控并揭露她的身份时，她遭到了公开的羞辱和仇恨邮件。
　　这部影片在上映后的一年内，以独特的方式记录了伊藤。虽然全球MeToo运动激励全世界的女性大肆宣传他们对性侵犯的指控，但在日本的回应却很平静。伊藤没有被吓倒，她访问了认为她失败的机构，并见了其他害怕不敢说话的女性。这部电影将伊藤的故事与日本更广泛的社会背景交织在一起，直到2017年，强奸的最低刑期短于盗窃。

　　影片片名为《验伤》，为2002年曾获得奥斯卡最佳外语片的《无主之地》的翻拍影片。《综艺》杂志报道，最近主演喜剧影片《杀手没有假期》和动作影片《迈阿密风云》的法瑞尔这次将饰演从危险任务中归来的摄影记者，他的同事兼最好朋友在任务中去世。

　　一场赌局改变了几个人的命运，赌神在一夜之间消失的无影无踪，而这场赌上一切的决斗也成为了禁忌。二十年后，赌神之子在三个混混的抚养下长大成人，生活虽不富裕，平淡中也充满乐趣。明明拥有可以静止时空的超能力，但偏偏对一个女人无效，这令他头痛不已。一次偶然，他的身份暴露，随之而来的则是无尽的麻烦，而赌王的出现也令他的生活变得丰富多彩，每天的日子变成了学学赌术，撩撩妹子。但是仇恨并不会随着时间的流逝而消散，赌神的回归让所有人为之一震，可彼时的他已不再是当年那个注重情义的汉子，赌神之子也陷入混乱，他无法确信谁才是正确的。当所有人齐聚赌桌，当二十年的恩怨全部爆发，当预知未来碰上时空逆转，输赢，就在一念之间

　　明中叶，东西两厂明争暗斗不断。东厂曹公公手下养了三大高手，分别是孟星魂（梁朝伟饰）、高老大（杨紫琼饰）、叶翔（甄子丹饰）三大高手，亦有小王爷（林志颖饰）帮忙。高老大经营快活林，孟星魂与叶翔皆是其从小养大的结拜弟弟，三人亲如手足。叶翔暗恋大姐，大姐却对孟星魂情有独钟。孟星魂与八卦门掌门之女小蝶（王祖贤饰）是爱侣，小蝶亦已怀有孟之骨肉。四人面对纠缠的感情痛苦不已，而此时孟星魂亦与高大姐接下刺杀孙玉函（徐锦江饰），将西厂李公公控制下的聚贤山庄一网打尽的任务。到底任务能否完成？而四人的感情又将何去何从？

　　美国导演玛格丽特·贝茨首部剧情长片《爱的见习生》，找来曾与名导斯派克·琼斯合拍广告而声名大噪的星二代玛格丽特·库里，饰演一名出生在无神论家庭的少女，为了成为修女而前往修道院见习，展开自我信仰的辩证，却也在压抑训诫中发觉内心骚动的欲望。玛格丽特·库里充满灵性的亮眼表现，不逊于同台飙戏的奥斯卡得主梅丽莎·里奥。影片大胆触碰宗教和同志议题，呈现超越性别的信仰与爱的真理，更赢得圣丹斯电影节评审团特别奖的赞扬。

　　杰克（卡兰·穆尔韦 Callan Mulvey 饰）的妻子爱丽丝（艾莉丝·布拉加 Alice Braga 饰）和名为迪伦（卢克·海姆斯沃斯 Luke Hemsworth 饰）有染，得知此事的杰克怒火中烧，找来了杀手查理（西蒙·佩吉 Simon Pegg 饰），想要将爱丽丝除之而后快。
　　与此同时，杰克的妹妹露西（泰莉莎·帕尔墨 Teresa Palmer 饰）和丈夫纳什（苏利文·斯坦普莱顿 Sullivan Stapleton 饰）亦企图将爱丽丝杀死，他们的目的在于骗取保险巨额保险金偿还高利贷。幸运的是，爱丽丝死里逃生，这一幕被查理看在眼里，于是，他决定以此敲诈两人。那边厢，丹得知了杰克的阴谋诡计，愤怒的他将杰克杀死了，而前来讨要酬金的查理意外撞见了警察布鲁斯（布莱恩·布朗 Bryan Brown 饰），两人之间展开了一场生死较量。

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.