剧情简介
约翰（摩里斯·切斯塔特 Morris Chestnut 饰）和劳拉（雷吉娜·赫尔 Regina Hall 饰）是一对无法生育的夫妻，视频多年后决定寻找年轻的代理孕妈妈安娜（洁丝·辛克莱 Jaz Sinclair 饰），视频他们满心欢喜地迎接她为他们诞下新生宝宝。然而年轻的安娜要的不只如此，她逐渐显露企图，闯入他们的生活，想成为婚姻中致命的第三者。
视频特点
约翰（摩里斯·切斯塔特 Morris Chestnut 饰）和劳拉（雷吉娜·赫尔 Regina Hall 饰）是一对无法生育的夫妻，视频多年后决定寻找年轻的代理孕妈妈安娜（洁丝·辛克莱 Jaz Sinclair 饰），视频他们满心欢喜地迎接她为他们诞下新生宝宝。然而年轻的安娜要的不只如此，她逐渐显露企图，闯入他们的生活，想成为婚姻中致命的第三者。
陈奂仁
回复 :What we know today about many famous musicians, politicians, and actresses is due to the famous work of photographer Harry Benson. He captured vibrant and intimate photos of the most famous band in history;The Beatles. His extensive portfolio grew to include iconic photos of Muhammad Ali, Michael Jackson, and Dr. Martin Luther King. His wide-ranging work has appeared in publications including Life, Vanity Fair and The New Yorker. Benson, now 86, is still taking photos and has no intentions of stopping.
回复 :性格内向的凯特（梅格•瑞恩 饰）深爱着自己的未婚夫，两人到了谈婚论嫁的地步，男友竟爱上了别的女人，要与凯特分手。凯特伤心死了，但她仍不能放下未婚夫，因此她独自一人前往法国寻找未婚夫，希望能重修于好。凯特后来在飞往巴黎的班级上偶遇了一名男子。这个叫吕克（凯文•克莱恩 饰）的法国男子对凯特很殷勤，愿意与凯特分享烦恼，但凯特并不知道，这名神秘的男子早已引起了法国警方的注意，他想摆脱追踪，便打算要利用凯特。巴黎对于凯特来说是个陌生的地方，但她心里只想找到前男友，吕克主动请缨要帮忙凯特，两人竟开始了一段浪漫的法国之旅。动人的氛围影响下，两人情愫渐生。吕克一开始的目的，又会否阻碍两人之间的感情进展呢？
金东律
回复 :《自拍》是16岁的戴维德·比福尔科（DavideBifolco）一案的独特记录，他在特雷亚诺的那不勒斯（NeapolitanDistrictofTraiano）被一名宪兵射杀。为了了解一个经常被描绘成贫民区和“卡莫拉”据点的街区，以及戴维德死亡的情况，导演Agostino Ferrente寻找戴维德的朋友，并会见了Pietro和Alessandro。在这部电影的序言中，有人听到他在摄影机前问，“告诉我你的友谊”，这揭示了他对这个一贯合作的纪实小说项目的态度。他让孩子们带上手机和麦克风，把他们的日常生活记录成一部“自拍”电影，无论他们是骑着摩托车，在海滩上，和朋友一起玩，还是在厕所里。在一个自我戏剧化经常成为产品的时代，这是一种完美的形式。其结果是一幅令人印象深刻的拼贴画，无论是视觉上还是在电影的音轨上，都是关于青春期；关于你的背景决定你未来的生活；关于国家专制；关于愤怒和悲伤，但最重要的是，在一个坚韧统治的男性世界里，一段温柔的童年友谊。Selfie is a unique record of the case of 16-year-old Davide Bifolco, who was shot dead by a carabiniere in the Neapolitan district of Traiano. To understand a neighbourhood often portrayed as a ghetto and ‘Camorra’ stronghold, as well as the circumstances of Davide’s death, director Agostino Ferrente seeks out Davide’s friends and meets Pietro and Alessandro. In the film’s introduction he is heard asking off-camera, ‘tell me about your friendship’, which reveals his approach to this consistently collaborative documentary-fiction project. Equipping the boys with a mobile phone and a microphone, he asks them to document their everyday lives as a ‘selfie’ film, whether they are riding a scooter, at the beach, hanging out with friends or on the toilet. This turns out to be the perfect format in an age where self-dramatisation often becomes a product. The result is an impressive collage, both visually and in the film’s audio track, about adolescence; about lives where your background determines your future; about state despotism; about anger and grief, but above all about a tender boyhood friendship in a male world in which toughness reigns.