半熟少女2016

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

少女小月（梁洛施 饰）拥有跟昆虫沟通的能力，后来她也认识了一众跟她一样有着超能力的朋友，他们都由一个青春永葆的姑姑（钟欣桐 饰）带领着。小月一直都暗恋比她大几岁的高原（陈柏霖 饰），她的小昆虫葛吱一直鼓励她出动表达爱意，小月也按着葛吱给她的方式接近高原，可是事与愿违，高原拒绝了她。十分生气的小月迁怒于葛吱，葛吱与它的昆虫朋友们都意想不到人类的复杂行为便就此失踪，小月也从此听不到了昆虫的话语。自然界忽然出现了大变化，姑姑召集所有拥有超能力的少年，寻找小昆虫们……

麦特（琵雅妲·沃拉慕斯 Pok Piyatida Woramusik 饰）的丈夫很早就去世了，留下了幼小的儿子阿坦（吉拉宇·唐思苏克 James Jirayu Tangsrisuk 饰）需要麦特独自一人抚养长大。为了生存，麦特吃尽了苦头，所幸得到了一直钟情于她的马特（加亚纳马·诺帕柴 Jayanama Nopachai 饰）的支持和帮助，最终将阿坦培养成为了一名正直有为的青年。 　　然而，母亲无微不至的关心的照料令阿坦感到窒息，随着年龄的增长，阿坦和母亲之间的隔阂越来越深，两人渐行渐远，与此同时，阿坦结识了名为阿君（贾琳珀恩·朱凯特 Jarinporn Jookiat 饰）的女子，开朗活泼的阿君犹如一道阳光照进了阿坦阴霾的世界，亦使得阿坦和母亲重新接受了彼此。

谢安真（隋棠 饰），离婚四年，单身四年，身兼职业OL与家庭主妇两种身分的她，将生活中的一切都打理得井然有序。女儿眼中的好妈妈、同事眼中的好上司、朋友眼中的好姐妹，但，她又会是谁的“好情人”呢？ 虽然对爱情仍然有些渴望，安真总用自己的生活很充实、很满足、很幸福来当藉口，因此，她与天蔚（宥胜 饰）还是一直维持着“好朋友”的关系。但，连安真自己也没发现，她只是没有勇气，没有勇气再次投入一段“甜蜜却随时可能破碎的爱情” 。在安真苦恼于是否该接受天蔚的感情时，前夫瑞凡（温升豪 饰）却在此时出现，再次对她展开追求。 在“亲情”与“爱情”、“安心”与“开心”、“习惯”与“改变”之间，安真是否能够把握当下的幸福，勇敢走向能让她发自内心微笑的那个人呢？ 幸福，真有么困难吗？

最终话里两人许下了爱的誓言，海音回到了大海里。三年后出现在伦太郎面前的会是……？

　　《一夜》是一部由Minhal Baig执导，安娜·坎普和贾斯汀·查特文等人主演的美国爱情电影，此片于2016年上映。
　　电影主要讲述了两对情侣在一个旅馆的一夜中探究了自己的爱情，过去和现实交织在了一起。

一切本来都完美无瑕，巴迪（本·阿弗莱克 Ben Affleck 饰）在尚且青春之时尽情的享受着他所拥有的时间、金钱、名望，直到那一天。在机场，为了和美女米妮（娜塔莎·亨斯屈奇 Natasha Henstridge 饰）共度良宵，巴迪将唯一一张宝贵的机票让给了老实人格里格（托尼·戈德温 Tony Goldwyn 饰），没想到好心却酿成了恶果，飞机坠毁，格里格代替本该乘上飞机的巴迪成为了空中的冤魂。 　　时间匆匆流逝，可巴迪并不能从当初的打击和罪恶感中走出来，他决定去拜访格里格的家。在那里，巴迪结识了格里格的遗孀艾比（格温妮丝·帕特洛 Gwyneth Paltrow 饰），要命的是，巴迪发现自己竟然爱上了这个美丽善良的女人，自此，事情变得复杂起来。

　　作家由纪夫（丰川悦司）由于整日忙于写作，与妻子萌宝（山口智子）渐渐生出一层隔膜，而两人原本平淡简单恩爱的生活，也因为这层隔膜于不知不觉间被打破，只是由纪夫从没察觉到。
　　某天，由纪夫诧异地发现家里的很多东西都被萌宝用绳子捆绑了起来，甚至，她经常企图把自己也绑在绳中。意识到问题的严重性后，由纪夫带萌宝去看医生，得知她患上的是一种无法进行医学治疗的学名为“强迫性紧缚症候群”的精神病——似乎他可以做的，只有按萌宝的要求，用用绳索将她紧紧捆绑起来。

　　夏天快要来临的时候，巴黎女子戴尔芬（玛丽·瑞莱 Marie Rivière 饰）却陷入了忧伤与烦闷中。刚刚和前男友结束恋爱关系，本来约好与她一同度假的女友也放了她鸽子。尽管其它许多好心的亲友邀请她一同度假，但是她却一一拒绝了。每个人都有了自己的度假计划，只有她看似要独身 一人困在巴黎过冗长的夏天。她寻寻觅觅，终日游荡在各处，希望能够找到自己的情人，但是所遇之人皆不能触动她心。在马赛海边，她听说了关于绿光的传说：谁能看到绿光，谁就能得到幸福。落寞的她打算返回巴黎，在车站，一个男子对着正在阅读小说《白痴》的她微笑，戴尔芬似乎觉察到了什么，她主动邀请男子去海边看日落。在灿烂的光辉中，男子对她表白，而她却固执地等到绿光才给出答案。
　　本片获得第43届威尼斯电影节金狮奖。