一群阿富汗妇女正在为工作权利而上街游行，废柴塔利班很快赶到，废柴用水枪冲散人流，女孩奥萨玛（Marina Golbahari 饰）和母亲湿漉漉的回到家里。奥萨玛一家的男丁全部在战争中失去，母亲只能靠私人行医贴补家用，而塔利班是不允许女性工作的，为解决生计，奥萨玛被家人乔装成男孩，送到父亲老战友的小店内工作，但是塔利班很快将奥萨玛送入伊斯兰学校，流浪儿艾士潘迪（Arif Herati 饰）在学校里帮助奥萨玛隐藏性别，不过事情还是败露了，奥萨玛的童年，在塔利班手中无奈的结束。本片全部由业余演员出演，获2003年戛纳电影节观众票选最佳影片、金摄影奖及年青导演奖，2004年金球奖最佳外语片奖等十余项专业褒奖。
回复 :金庆浩（安圣基 饰）本是一名大学的数学教授，却因为直言指出大学入学考试中一道出错的考题间接被学校停职。为此金庆浩多次申诉，希望能恢复自己的职位和名誉，却屡告失败。金庆浩由此心灰意冷离开韩国，在海外进行学术研究直至2006年他回国，再次向韩国高等法院提出诉讼，要求校方恢复他的职称但被判败诉。此时的金庆浩到了极度愤怒的状态，失去理智的他埋伏在案件主审法官的公寓楼道里，预备用石弓袭击法官。法官受伤入院，金庆浩被捕，在媒体的关注下，此次事件被上升为“司法恐怖袭击”。但金京浩对所有指控拒不承认，在他奋力抗争的过程中，这次“弓弩伤人事件”也愈发的扑朔迷离……电影《断箭》根据2007年在韩国轰动一时的“弓弩伤人事件”改编。
回复 :A great spanish cult movie!!This is one of the most astonishing films ever made. It has some scenes that it should be in the history of cinema. Like the filming by Fernando Fernan Gomez of the militias using a big roll of paper to win a positions. Or the begging of the film based on real events. The birth of the director inside the carp where the first cinematographer was showing "the train arriving to the station". Being shoot in really simple way it's amazing the proper use of the audiovisual language. The late Guillermo Cabrera Infante showed this film in a Canadian film festival in Spanish without subtitles when the projection finish the audience didn't move and they ask for seen the film again. The effect of this film in the audience is unbelievable. None a single person that has seen this rare Spanish movie could forget it. Except the main actor Fernando Fernan Gomez who never remember work on it.
回复 :"The Witch Burnt Alive"After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous."Community Spirit"Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through."The Earth Seen from the Moon"The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific."The Sicilian"Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories."A Night Like Any Other"Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.