剧情简介
1935年的中国西南盐业重镇，春暖帮派斗争不断，春暖风云诡谲。 一位纹身技艺精湛的大师阿昌，卷入了一场针对他所在帮会的连环暗杀。神秘势力的轮番陷害，昔日手足为一己私欲背叛，各种误解步步紧逼，等阿昌发现这一切阴谋根源之时，已经是身陷绝境。为了让女儿活下去，他选择背水一战……
春暖花开x8论坛首页
1935年的中国西南盐业重镇，春暖帮派斗争不断，春暖风云诡谲。 一位纹身技艺精湛的大师阿昌，卷入了一场针对他所在帮会的连环暗杀。神秘势力的轮番陷害，昔日手足为一己私欲背叛，各种误解步步紧逼，等阿昌发现这一切阴谋根源之时，已经是身陷绝境。为了让女儿活下去，他选择背水一战……
张露
回复 :湖州商人范某携带妻儿催舟向姑苏城驶去，不料途中遭劫杀，抢走了赤金莲花杯，范的儿子范菊庵和船家小女杏妹被推入水中。菊庵凭借破船漂上岸，寻到了岳父家，侯鸣鹄一家将他收留。莲花杯落入凶残的知府虞维明的手中，当他得知菊庵仍活着，欲将其杀死，于是侯家夫妇被杀，他们的女儿梦卿被桔灯老人所救。10年后，梦卿得桔灯真传，练就了“水上飞”的高强武功，誓要为范、侯两家报仇。菊庵则在出逃后，改名陆天荣，经过苦读，金榜题名，任吴江知县，他希望梦卿能归顺朝廷，致使梦对他彻底失望。梦与雪园等人亲手报了家仇，远走他乡。而陆则万念俱灰，入寒山寺当了和尚。
妮妮
回复 :电影是根据人气漫画《无罪之城》改编，讲述了国际金融大鳄索兰在太平洋的某处孤岛上建立了一座没有法律限制的“无罪之城”，众多被通缉的犯罪分子慕名前往，以求庇护。国际特种兵唐柯带着遣散罪犯的目的卧底无罪之城，然而在执行任务时，不幸落入索兰的圈套。唐柯用尽浑身解数从密室里逃生，却发现自己体内被注射毒剂，生命只剩下几小时，妻子被索兰杀害，女儿也被绑架，孤注一掷的唐柯因此踏上复仇之路。
朱卫茵
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
