1914年，久久久噜久久在德文郡小镇，久久久噜久久男孩艾尔伯特（杰瑞米·艾文 Jeremy Irvine 饰）目睹了幼驹乔伊的诞生。在集市上，它被频繁叫价，最终被艾尔伯特的父亲泰德（彼得·穆兰 Peter Mullan 饰）用30几尼的天价收入囊中，跛脚的他也因此得罪了地主。艾尔伯特与乔伊尽情 嬉戏，与朋友分享。然而，好景不长，地主登门拜访，称如果乔伊不能犁地将立刻将其带走，于是泰德赌上了全部家当。于是，艾尔伯特在逼迫之下，为乔伊套上了鞍蹬，强迫它犁地，甚至还使用了皮鞭，却不能让它屈服就范。为了还债，泰德亲自上阵犁地，功夫不负有心人，辛苦换来了收成，但是一场大雨毁了一切。德军来袭，父亲被迫将马变卖给骑兵军，换了30几尼。艾尔伯特虽然难以割舍也只能含泪送别乔伊踏上了前途未卜的战场。战争中，乔伊的主人不停在变，从英国上尉，法国老农与孙女，到德国骑兵，然而它真正等待的是艾尔伯特，他们能够重逢吗……
周笔畅
回复 :富商夫人收买一男子合作绑架自己，布局查探丈夫婚外情，谁知有人弄假成真，步步为营的紧张度，组合耐人寻味的真相。
回复 :The Polish doco for the BFI’s Century of Cinema distinguishes itself from all the others in the series by being the only one not to have any film critics, academics, directors, etc providing a commentary. Instead it takes the refreshing route of having ordinary people of all ages talking about what’s special to them about movies – so we get some old folks describing their first trip to the cinema when a lot of people didn’t even know what a film was, memories of what it was like to go to the movies as children, teenagers, and adults before, during, and after WWII, and especially the key scenes from films that have made lasting impressions upon them (not unexpectedly, Wajda’s KANAL strikes a nerve), which are shown in accompaniment, so that it becomes the interviewees who ultimately decide what’s shown in the doco. This kind of stuff is what the ‘100 Years of Cinema’ celebration is really about.
阮筱芬
回复 :男人如海，远飏漂浪；女人是树，荫蔽家园。这是一则反溯家族记忆的私密创作，从最初两人的深情往复书简，顺此而成的生命诞造，以及其后伴怀自然、温柔照料的哺育子女。在女人温柔如巨树分枝的照料之下，孩子如鸟，学习飞翔，体会那苍穹万物。但在巨树倒下的一刻，雏鸟被迫变形成长，从此在漫长失亲的岁月里，想念至亲、凭悼失落的自己。以印象派画风为骨干，佐以16mm 胶卷的有机颗粒影像，新锐导演瓦斯康丝勒借着家族物件、亲录原声，与戏剧式的重建演出，爬梳家族父执辈几尽失落的记忆。她邀请家人亲身参与演出，对应不同人声的旁白，以音划分离营造出想像空间，让全片在深刻幽微的生命沉思下，拥有轻盈的流动感，组成一出构图如画、探讨永恒的喧嚣疗愈之作。
