日期：2010年2月2日（Tues）

时间：7:30-10:00pm

地点（Venue）：Room350




编导Director: 韋納·何索(沃纳·赫尔佐格) Werner Herzog（德国）
主演: 克劳斯·金斯基(Klaus Kinski), Claudia Cardinale, José Lewgoy
类型: 剧情 Drama


【故事大纲】

《陆上行舟》根据真实事件改编，爱尔兰人Fitzcarraldo酷爱歌剧，他想在热带雨林之中建造一个歌剧院然后请意大利男高音卡鲁索（Caruso）来演唱，为了凑到足够的金钱他买下来一块橡胶田做起橡胶生意，为了往来运输他必须弄一条船到雨林之中，在当地印第安土著帮忙之下，他终于把船从一条运河跨山而过运到了另一条河上。就在他兴奋无比之时，却不知土著有自己的打算，他们把船抛弃在河流之中让他顺流而下以献给河神……

在赫尔措格的坚持下，影片在秘鲁内陆的雨林实地拍摄，拍摄之初便卷入了当地土著部落的权利之争，而在丛林中还有军营、石油公司各种势力，拍摄所需物资全部空运至搭建的营地。影片缓慢的拍摄。五周后，就在影片完成40%的时候，影片主演Jason Robards因病退出剧组，饰演Fitzcarraldo伙伴Wilbur的滚石乐队（Rolling Stone）主唱Mick Jagger则投身新专辑发行和巡演。影片陷入遥遥无期的停机状态。


【导演简介】



1942年9月5日誕生於德國南部巴伐利亞的首府慕尼黑，他的童年在偏遠山區的小鎮度過，那裡沒有電影、電視和電話。14歲起開始遠足，全靠自己的一雙腿。高中時期，他半工半讀，在鐵工廠當銲工。1961年，也就是19歲的時候，他完成了生平的第一部電影。到目前為止，他總共編導超過40部電影，出版十餘本散文，導演十多齣歌劇。韋納荷索最新的作品為2005年的《藍天之外》The Wild Blue Yonder。

荷索不只創作力十足，題材更是充滿挑戰性。即使他的作品成為全球各大國際影展的常客，在電影藝術的領域享有極高的聲譽，荷索卻堅持獨立製片的精神，電影創作以人和自然的關係為核心。在好萊塢商業電影席捲全球市場，甚至侵蝕獨立製片空間的現實下，他不改本色，繼續當「獨孤電影大師」。他特立獨行的個性最能在「荷索吃鞋」的故事上展現：和友人打賭對方無法完成《陸上行舟》攝製過程的紀錄片，結果紀錄片完成，荷索在攝影機見證下，吞下自己的鞋子。荷索與法斯賓達、賽柏格(Syberberg)齊名﹐為二十世紀七十年代德國新電影(New German Cinema)的代表人物之一。



近期及重要作品：
2010　爆裂警官　Bad Lieutenant：Port of Call New Orleans
2006　搶救黎明　Rescue Dawn
2005　灰熊人　Grizzly Man
2002　十分鐘前-小號響起　Ten Minutes Older：The Trumpet　-「萬年叢林最後的神秘部落」
1982　陸上行舟　Fitzcarraldo
1979　吸血鬼　Nosferatu
1977　史楚錫流浪記　Stroszek
1976　玻璃精靈　Heart of Glass
1974　賈斯伯荷西之謎　The Enigma of Kasper Hauser
1972　天譴　Aguirre, the Wrath of God

荷索重要國際影展得獎記錄
1968 生命跡象 (Lebenszeichen)－柏林影展銀熊獎
1974 賈斯伯荷西之謎 (The Enigma of Kaspar Hauser)－坎城影展評審團大獎
1979 吸血鬼 (Nosferatu: Phantom der Nacht)－柏林影展金熊獎提名
殺人狂 (Woyzeck)－坎城影展金棕櫚提名
1982 陸上行舟 (Fitzcarraldo)－坎城影展最佳導演獎
1997 小小迪特想要飛 (Little Dieter Needs to Fly)－阿姆斯特丹國際紀錄片影展評審團特別獎
2005 灰熊人 (Grizzly Man)－日舞影展紀錄片特別獎
2005 藍色狂想 (The Wild Blue Yonder)－威尼斯影展國際影評人獎



Werner Herzog (born Werner Herzog Stipetić;[1] 5 September 1942) is a German film director, producer, screenwriter, actor, and opera director.

He is often associated with the German New Wave movement (also called New German Cinema), along with Rainer Werner Fassbinder, Margarethe von Trotta, Volker Schlöndorff, Hans-Jürgen Syberberg, Wim Wenders and others. His films often feature heroes with impossible dreams, people with unique talents in obscure fields, or individuals who find themselves in conflict with nature. As a recurrent theme, his films usually explore the contradictions and limitations of Western society.

Herzog and his films have won and been nominated for many awards. Herzog's first major award was the Silver Bear for his first feature film Signs of Life (Nosferatu the Vampyre was also nominated for Golden Bear in 1979). Most notably, Herzog won the best director award for Fitzcarraldo at the 1982 Cannes Film Festival. On the same Festival, but a few years earlier (in 1975) his movie The Enigma of Kaspar Hauser won The Special Jury Prize (also known as the 'Silver Palm'). Other films directed by Herzog nominated for Golden Palm are: Woyzeck and Where the Green Ants Dream. His films were also nominated at many other very important festivals all around the world: César Awards (Aguirre, The Wrath of God), Emmy Awards (Little Dieter Needs to Fly), European Film Awards (My Best Fiend) and Venice Film Festival (Scream of Stone and The Wild Blue Yonder).

In 1987 he and his half-brother Lucki Stipetic won the Bavarian Film Awards for Best Producing, for the film Cobra Verde.[9] In 2002 he won the Dragon of Dragons Honorary Award during Kraków Film Festival in Kraków.

Herzog was honored at the 49th San Francisco International Film Festival, receiving the 2006 Film Society Directing Award.[10] Four of his films have been shown at the San Francisco International Film Festival: Wodaabe - Herdsmen of the Sun in 1990, Bells from the Deep in 1993, Lessons of Darkness in 1993, and The Wild Blue Yonder in 2006. Herzog's April 2007 appearance at the Ebertfest in Champaign, IL earned him the Golden Thumb Award, and an engraved glockenspiel given to him by a young film maker inspired by his films. Grizzly Man, directed by Herzog, won the Alfred P. Sloan Prize at the 2005 Sundance Film Festival. Encounters at the End of the World won the award for Best Documentary at the 2008 Edinburgh International Film Festival and was nominated for the Academy Award for Documentary Feature, Herzog's first nomination.

进行方式：此社将与南方学院学生的电影研究社合作，由许通元、赵少杰、Kelly或罗友强老师主持，每星期定期选片后放上部落格让有兴趣的观众参考，影片播映完后，由当天主持与观众进行交流。

播放字幕：中文字幕（中日韩片）、英文字幕（欧美及其他）

免费入场。

欢迎电邮给您的朋友们！



星期二影社敬启

26/1: 《阳阳》.（片长：111 min）

日期：2010年1月26日（Tues）

时间：7:30-9:30pm

地点（Venue）：Room350



导演Director: 郑有杰 Yu-Chieh Cheng
主演: 张睿家（Bryant Chang） 张榕容（Yung-yung Chang） 黄健玮 （Jianwei Huang）于台烟（Shelly） 何思慧（Sihui H）
类型: 剧情 Drama
语言: 华语 Chinese
中法混血儿阳阳从未见过法籍生父，也不懂法文，遇到旁人频频询问是否会说法文时，也只能尴尬一笑。面对母亲再嫁，学姐成为自己的姊姊，两人还爱上同一个男生，内心孤单的阳阳，在种种冲突挣扎之中，该如何面对自己的各式伤痛？

【故事大纲】

「所以妳會講法文嘍？」從小到大，中法混血兒陽陽老被問起這個問題。她習慣微笑以對，但笑容總有點尷尬──她從未見過法籍生父，一句法文也不會講。母親再嫁組成的新家庭沒能填補缺憾，生命中的短暫激情也無法治療孤獨，一切對愛的追尋終歸徒然……然後意想不到的事件發生，陽陽離開了她所摯愛的一切。

九個月後，一個人的她踏入演藝圈，混血兒外表現在成了賣點，她必須時時扮演自小排斥的「法國人」角色…在種種的衝突掙扎裡，陽陽將如何面對自己親情、友情、愛情的傷痛？


【导演简介】

三年前凭《一年之初》接连拿下台北电影节百万首奖、观众票选最佳影片，自此导演郑有杰获得李安、李岗兄弟的赏识，其第二部作品《阳阳》更一举拿下四项金马奖提名。这位才华横溢的导演不甘心退居幕后，不论是《波丽士大人》，还是蔡健雅、徐佳莹的MV，都能看见其踪影。接受本报专访时，郑有杰称虽然自己未能入围最佳导演，但片中三位演员获得提名已令他备感骄傲。

【获奖记录】Awards

★2009柏林影展「電影大觀」單元
★2009香港國際電影節推薦十大必看佳片
★2009台北電影節開幕片
★李崗台灣電影「推手計畫」首部劇情長片
★台北電影獎百萬得主【一年之初】導演鄭有傑再次力作
★新生代演員張榕容、張睿家、黃健瑋飆演技突破演出

详情可阅读http://gb.udn.com/gb/blog.udn.com/webbers101/3154385

进行方式：此社将与南方学院学生的电影研究社合作，由许通元、赵少杰、Kelly或罗友强老师主持，每星期定期选片后放上部落格让有兴趣的观众参考，影片播映完后，由当天主持与观众进行交流。

播放字幕：中文字幕（中日韩片）、英文字幕（欧美及其他）

免费入场。

欢迎电邮给您的朋友们！



星期二影社敬启

12/1: 《我的母亲》. All About My Mother.（片长：101 min）

日期：2010年1月19日（Tues）

时间：7:30-9:30pm

地点（Venue）：Room350

All About My Mother (Spanish: Todo sobre mi madre) is a 1999 Spanish drama film written and directed by Pedro Almodóvar. The screenplay deals with complex issues such as AIDS, transvestitism, faith, and existentialism.
The plot originates in Almodóvar's earlier film The Flower of My Secret which shows student doctors being trained in how to persuade grieving relatives to allow organs to be used for transplant, focusing on the mother of a teenager killed in a road accident.

【故事大纲】
《我的母亲》/《论尽我阿妈》/《关于母亲的一切》
西班牙导演阿尔莫多瓦1999年的作品。阿尔莫多瓦的电影中总是充满了各种极端的因素——抢劫，敲诈，毒品，妓女，疯狂的暴力和性爱，对宗教的怀疑，同性恋，易装癖，以至于各种明亮艳俗的色彩。但这些因素不可思议地以一种看似平淡然而优雅平静的方式组合起来，就像波澜不惊的水面下有暗流涌动，只有身处其中才能有所感应。能欣赏阿尔莫多瓦的人一定是细腻敏感的。尽管他的作品中很难找到我们所认为的那种“正常”人和“正常”生活，可是他讲的故事总能真切地深入到人的心灵中最幽深曲折的角落，似乎剧中人和你我存在着天然的割不断的联系。电影叙事的手法是平实的，好像在对观众说：“你们看，这就是生活，不仅是她们的，而且是我们的生活。”

Synopsis
The film centers on Manuela, a Nurse who oversees donor organ transplants in Ramón y Cajal Hospital in Madrid and single mother to Esteban, a teenager who wants to be a writer.
On his seventeenth birthday, her son Esteban is hit by a car and killed while chasing after actress Huma Rojo for her autograph following a performance of A Streetcar Named Desire, in which she portrays Blanche DuBois. Manuela has to agree with her colleagues at work that her son's heart be transplanted to a man in La Coruña. After traveling after her son's heart, Manuela quits her job and journeys to Barcelona, where she hopes to find her son's father Lola, a transvestite she kept secret from her son, just as she never told Lola they had a son.
In Barcelona, Manuela reunites with her old friend Agrado, a warm and witty transsexual prostitute. She also meets and becomes deeply involved with several characters: Rosa, a young nun who works in a shelter for battered prostitutes and is pregnant by Lola; Rosa's mother; Huma Rojo, the actress her son had admired; and the drug-addicted Nina Cruz, Huma's co-star and lover. Her life becomes entwined with theirs as she cares for Rosa during her pregnancy and works for Huma as her personal assistant and even acts in the play as an understudy for Nina during one of her drug abuse crises.
On her way to the hospital Rosa asks the taxi to stop at a park where she spots her father's dog and then her own father, who suffers from Alzheimer's; he does not recognize Rosa and asks for her age and height. Rosa dies of AIDS, which she got from Lola: Lola and Manuela finally reunite at Rosa's funeral. Lola (whose real name is Esteban), who is dying from AIDS, talks about how she always wanted a son, and Manuela tells her about her own Esteban and how he died in a car accident. Manuela then adopts Esteban, Rosa's child, and stays with him at Rosa's parents' house. The father does not understand who Manuela is, and Rosa's mother says it's the new cook, who is living here with her son. Rosa's father then asks Manuela her age and height.
Manuela introduces Esteban (Rosa's son) to Lola and gives her a picture of their own Esteban. Rosa's mother spots them from the street and then confronts Manuela about letting strangers see the baby. Manuela tells her that Lola is Esteban's father; Rosa's mother is appalled and says: "That is the monster that killed my daughter?!".
Manuela flees back to Madrid with Esteban; she cannot take living at Rosa's house any longer, since the grandmother is afraid that she will contract AIDS from the baby. She writes a letter to Huma and Agrado saying that she is leaving and once again is sorry for not saying goodbye, like she did years before. Two years later, Manuela returns with Esteban to an AIDS convention, telling Huma and Agrado, who now run a stage show together, that Esteban had been a miracle by not inheriting the virus. She then says she is returning to stay with Esteban's grandparents. When asking Huma about Nina, she becomes melancholy and leaves. Agrado tells Manuela that Nina went back to her town, got married, and had a baby.
Almodóvar dedicates his film "To all actresses who have played actresses. To all women who act. To men who act and become women. To all the people who want to be mothers. To my mother."
Almodovar recreates the accident scene from John Cassavetes's Opening Night as the epicenter of the dramatic conflict.
【导演简介】

佩德罗·艾慕杜华（阿莫多瓦）
　　1949年9月24日，佩德罗·阿莫多瓦出生在西班牙南部拉曼彻地区的一个名叫Clzada de Calatrava的小镇上。由于父亲的贩酒事业经营不善，阿莫多瓦的童年过得十分贫苦。八岁时，他随家人搬到艾克斯杜雷马杜拉省，并在那里进入教会学校学习。他开始迷恋电影，同时电影也给了他最大的安慰。 　　十六岁那年，阿莫多瓦放弃了进入修道院大学的机会，离开家乡，孤身一人前往马德里，心中只有一个明确的目标：到马德里去学习并拍摄电影。但当时在佛朗哥的强权政策下，国立电影艺术学院已经被迫关闭。因此阿莫多瓦也只能一边靠打工维持生计，一边自学电影的基本理论。尽管60年代仍然是佛朗哥独裁当道的时期，但来自外省的少年阿莫多瓦还是深深地爱上马德里这座充满文化和自由气息的城市。不久后，阿莫多瓦在西班牙国家电话公司得到了一份正式的工作。这份工作不但使阿莫多瓦积攒购买了一架超八摄影机，开始拍摄一系列家庭手工式的地下电影作品，而且让他接触到西班牙众多的中产阶级家庭，正是他们的悲伤和快乐，为阿莫多瓦日后的创作提供了大量宝贵的素材和灵感。阿莫多瓦在国家电话公司整整工作了12年，在这12年中，他形成了自己独特而固定的生活模式。白天为众多客户工作服务，融入普通百姓的生活，而在晚上和休息日，他就开始了多彩的创作生活。除了写作拍摄超八厘米短片外，阿莫多瓦还为地下刊物创作小说和漫画，参加业余剧团的演出，甚至还组织了一支戏谑模仿他人作品的朋克乐队。 　　1975年，统治西班牙近半个世纪的独裁者佛朗哥去世，一个新的时代到来了。在这种大的背景下，阿莫多瓦的创作在这个刚刚重享自由的国家里展现出人们已经少有的激情。在适逢西班牙民主过程最高潮的1980年，他的第一部剧情长片《佩比、露西、伯姆和其他姑娘们》一经公映，就引起了巨大的反响。影片大胆尖刻地以黑色幽默的形式讲述着西班牙社会中的性、暴力和变态，同时也赞美着人与人之间的友谊、爱情以及由此所带来的欢娱和快乐。阿莫多瓦在此后的《激情迷宫》、《黑暗的习惯》和《为什么我命该如此》等80年代初期作品中，以尖锐的目光、戏谑的手法、饱满的激情批判着专制封建的社会制度和没落腐朽的道德体系，充分展现出西班牙人民被压抑了四十多年的地中海式的自由精神。在西班牙，这些影片受到了广大观众格外的青睐和钟爱，因此阿莫多瓦的作品不但在艺术上有其独特的风格和深刻的内涵，而且商业上也有着强大的号召力。 　　1986年，阿莫多瓦推出了半自传式的电影《欲望的法则》，这部大胆而刺激的作品除了受到广泛注意外，还顺利地打开了他在美国的电影市场。随后，他创建了自己家族的电影企业“欲望无限”公司。在80年代西班牙电影工业受到美国巨大冲击而严重衰退的时候，由该公司出品的阿莫多瓦作品却都能屡创佳绩。1987年的《濒临崩溃边缘的女人》、1989年的《捆着我、绑着我》和1991年的《高跟鞋》都是西班牙电影有史以来最卖座的影片。这些电影绝非阿莫多瓦向商业献媚的滥俗之作，都是在保持其独特个人风格的同时，深刻地把握有关人性的主题，因此具有感染更多观众的普遍意义。80年代末期，阿莫多瓦在迎来自己艺术创作高峰的同时，他也成为西班牙全国上下宠爱的“电影国宝”以及欧洲最具国际意义和票房号召力的电影大师。 　　进入90年代，阿莫多瓦丝毫没有放慢创作的脚步，怪异讽刺的《奇卡》、朴实细腻的《我的神秘之花》、激情澎湃的《颤抖的欲望》及我们在开头提到的那部深刻感人的《关于我母亲的一切》，这些风格迥异的作品都验证出这位大师旺盛的创造力和处理不同题材影片的卓越才华。 　　从最早的一部《佩比、露西、伯姆和其他姑娘们》到最近的《关于我母亲的一切》的20年中，阿莫多瓦形成了自己独有的电影风格和电影美学。在其作品热闹而绚丽的外表下，阿莫多瓦一直冷静地关注着这个世界，他把目光投向普通人的平凡生活和社会的阴暗角落，从中感悟人性的力量与缺憾，一面以最直接的手段表白着人类的爱恨和情欲，另一面激进地鞭挞着种种传统而腐朽的“社会道德”。与其他男性导演不同，阿莫多瓦始终关注着女性，他以一种理解和关怀的姿态，细腻温情地刻画着女性敏感的精神世界。在阿莫多瓦的作品中，女性生活在枯燥无味的现实中，孤独而寂寞，丰富的感情和美好的梦想无所寄托，只能坚强地在绝望和痛苦中挣扎和反抗。他在对女性的善良天性和她们之间的无私友谊进行极力赞美的同时，毫无掩饰地批判了那些懦弱、虚伪并且对女人造成极大伤害的男人们。除了特别热中女性题材，阿莫多瓦还是一个敏锐的社会学家，宗教、凶杀、毒品、偷窥、家庭暴力、婚外恋、同性恋、变性、媒体侵犯隐私等各种社会现象在他的作品中都有所展示。由此可见，在阿莫多瓦那些看似荒诞的情节背后，隐藏着生活巨大的真实。 　　从电影的表现形式来看，阿莫多瓦在以沉重、晦涩著称的欧洲艺术影坛树立了自己个性鲜明的旗帜。他以嘲弄、戏谑的姿态，肥皂剧甚至闹剧的形式，面对每一个普通观众，讲述着一个个怪异可笑但发人深省的通俗故事。在阿莫多瓦的故事中不但有卡通般鲜明个性的人物，戏剧式的矛盾冲突，更有诸如凶杀、绑架、性场面甚至变性人等各种刺激观众的商业因素。加上他所特有的西班牙式的黑色幽默，使观众在品尝现实、感悟人生之余，增添了一丝或欣喜或苦涩的微笑。这些都使得阿莫多瓦的电影在具有深刻、严肃主题的同时，又存在着很强的观赏性和娱乐性。 　　而谈到他作品中的电影美学，就必须注意他那独树一帜的电影色彩。观众们第一次接触阿莫多瓦的作品都会为他那些艳俗而缤纷的色彩搭配所惊讶。如以传统美学评判，这些色彩的运用实在肤浅且不相协调。而阿莫多瓦这种对色彩看似恣意的使用恰恰一方面与他影片中狂野混乱的情景相得益彰，另一方面也体现出西班牙人民对绚丽色彩和生命与激情的钟爱。阿莫多瓦在影片中精心设计搭配着那些鲜艳、夸张的色彩，并赋予它们不同意义的象征。红色是阿莫多瓦电影最明显的标志，它象征着生命的动力、对爱情的渴求和不可抗拒的情欲，更是女性形象的代表。因此，在《濒临崩溃边缘的女人》、《高跟鞋》、《关于我母亲的一切》等重要作品中，红色都起到了举足轻重的作用。即使在影片的布景上，阿莫多瓦也格外注意色彩的搭配，就连家庭的室内装饰都令人难以想象地运用了各种鲜艳的颜色，除造成强烈的视觉冲击外，更隐喻着看似平静的社会中所存在的各种怪诞的问题。 　　阿莫多瓦在少年时代曾经这样描述过电影对他的意义：“电影就好象一扇梦幻的窗户，我很确定我从中看到的世界比我生活的世界更为有趣。”阿莫多瓦，这个西班牙电影梦幻的编织者正保持着饱满的激情和难以想象的创造力，以更为成熟、更具个性的手法，用更浓重瑰丽的色彩描绘着人类的情感与欲望，创作着观众们更值得期待的作品。

Director

The most internationally popular and important Spanish director since Luis Bunuel, Pedro Almodovar fled the stifling Roman Catholicism of his provincial La Mancha at the age of 17 to do battle with the windmills of Madrid. Lacking the money to enter college, he peddled books and made jewelry before settling into a decade-long run as a clerk at the National Telephone Company during which he contributed comic strips and stories to underground magazines like STAR, VIBORA and VIBRACIONES. As the most visible exponent of "la movida" (the cultural ferment in Madrid post-Franco), he would eventually act with the avant-garde theater group Los Goliardos, meeting actors like Carmen Maura and Antonio Banderas who would become key players in his movie repertory company. Additionally, he would publish parodic memoirs under the pen name 'Patti Diphusa' (a fictitious international porn star) in LA LUNA and record and perform (in drag) with his own band (Almodovar and McNamara), although not before shooting his first Super-8 shorts, beginning with "Dos Putas, o Historia de Ampor que Termina en Boda" (1974).
While other directors of his generation were making somber films about the Franco years, Almodovar made the conscious intellectual decision to never allude to the specter of the generalisimo, recording instead the vibrant explosion of wild behavior and hedonism expressed in the giddy rush of freedom following the old fascist's death in 1975. In fact, his first mainstream feature "Pepi, Luci, Bom and Other Girls Like Mom" (1980), shot in 16mm and blown up to 35mm, was an instant success, due in large part to the marked absence of Franco's shadow. Almodovar continued to develop his eye-popping colorful style, making affectionately off-the-wall movies chronicling the dark, bawdy and ultimately lonely misadventures of people living on the fringes of society--heroin-shooting nuns in "Dark Habits" (1983); a speed-addicted cleaning woman in "What Have I Done to Deserve This?" (1984); a murderous bullfighter in "Matador" (1986); and lovelorn homosexuals and transsexuals in "Law and Desire" (1987), a film which drew fire for its depiction of unprotected gay sex.
Though openly gay, Almodovar took umbrage at what he considered the pejorative label of "gay filmmaker", arguing that the homosexual sensibility in his films did not make them "gay films", but rather films depicting universal passion to which both homosexuals and heterosexuals could relate. The director successfully transcended these early attempts to classify him, and when people refer to him today as the undisputed leader of the New Spanish Cinema, there is no tag regarding his sexual orientation. Funny, outrageous, sexy, even kinky, his early movies driven by headstrong (and high-strung) heroines earned him a reputation as a fine director of women (a contemporary George Cukor) and culminated in the wackily exuberant farce "Women on the Verge of a Nervous Breakdown" (1988). Almodovar painted the manic Madrid of the 80s as a playground for wit--above all, women's wit--and audiences responded enthusiastically, making it the most successful film in Spanish box-office history, one that won international acclaim and an Academy Award nomination for Best Foreign Film.
Of all his films to date, "Women" faired the best with Americans, grossing a phenomenal $7 million in the States. Almodovar's attempt at high comedy a la "How to Marry a Millionaire" (1953) resulted in what he called an "absolutely white" movie covering 48 hours in the lives of several women who are so hysterical, they don't have time for sex and drugs. Though seemingly at odds with the uninhibited signature of his earlier work, the lack of oral sex acts and dope that made it in the words of leading lady Maura "a film that our nephews will be allowed to see" also made it more accessible to conservative US audiences. His next film "Atame!/Tie Me Up! Tie Me Down!" (1990), however, earned an X rating for its one prolonged sex scene, which showed the two lovers only from the waist up and focused primarily on the woman's sexual fulfillment. Perhaps the success of "Women" had made him a target of the MPAA, but the advocacy of William Kunstler on the picture's behalf did not dissuade the ratings board. The X stood, causing the incensed director to compare MPAA's tactics to fascist techniques under Franco.
"Tie Me Up! Tie Me Down!", Almodovar's fifth and last movie with Banderas, grossed $4 million in the States but since then his US box office has been in a downward spiral. Americans loved the campy "Women" but responded less enthusiastically to the kidnapping central to "Tie Me Up!". "High Heels" (1991) started out in the helmer's typically irreverent, wacky style but ran out of steam about halfway through, and the lengthy rape scene of "Kika" (1993), which earned the film its NC-17, did not strike US audiences as funny, once again causing the director to decry Americans as puritanical and lacking a sense of humor for their inability to see rape as a laughing matter. "The Flower of My Secret" (1995), while true to Almodovar's typically sympathetic focus on the plight of the contemporary Spanish woman, also revealed a more mature artist at work. Audiences expecting the enfant terrible's familiar, off-beat black humor saw a return to the masterful high comedy of urban life, accompanied by the sad notes of resignation and compromise that signaled a new austerity.
With "Live Flesh" (1998), Almodovar moved beyond his stance of never referring to the Franco years while showing he could fuse visual and sexual anarchy with the most elegant of plots. He also for the first time filmed material which he had not originated, loosely adapting Ruth Rendell's novel into a completely Spanish sensibility. The movie opens with the birth of Victor on a bus in 70s Madrid, its streets bare because of the restrictions of the Franco regime, and comes full circle with the birth of Victor's son 26 years later in the middle of a Madrid street choked with traffic, symbolic of the better life Victor's son will enjoy in a democratic Spain. In an ominous note for Spanish audiences, the voice heard announcing the state of emergency at the picture's beginning belongs to Manuel Fraga Iribane, formerly Franco's minister of information and grand old man of the conservative party ruling Spain today. Almodovar's concerns about that new right-wing government prompted his use of this device to remind viewers that "we are not so far from it (the awful past)."
Though American audiences have not embraced the more political and sober Almodovar, the change of mood has proved popular in Spain, where critics who previously attacked the unevenness of his plotting and superficiality of his characters proclaimed "Live Flesh" a masterpiece, qualifying it with adjectives like consistent and cohesive. No longer the overgrown kid who sprang from the thick of Madrid's anything-goes night life, armed with a hand-held camera, to record the intoxication of Spain's post-Franco freedoms, he has reinvented himself triumphantly as a consummate stylist with a serious touch. The departure from his wildly comedic storylines represents the evolution of a director who needed to tackle fresh and dangerous territory to escape becoming mannered. What interests Almodovar as he enters this period of maturity is a narrative that truthfully reveals his characters' emotions, and the fully-developed masculinity of "Live Flesh" that replaces the crude and flat males of his recent work is just one indication of an auteur beginning to demonstrate complete command of the art form.

【All About My Mother获奖记录】Awards
Academy Awards
Best Foreign Language Film (won)
BAFTA Awards
Best Film Not in the English Language (won)
Best Direction (Almodóvar, won)
Best Screenplay - Original (Almodóvar, nominated – lost to Being John Malkovich, Charlie Kaufman)
Golden Globe Awards
Best Foreign Language Film (won)
Goya Awards
Best Actress (Roth, won)
Best Cinematography (nominated – lost to Goya in Bordeaux)
Best Costume Design (nominated – lost to Goya in Bordeaux)
Best Director (Almodóvar, won)
Best Editing (won)
Best Film (won)
Best Makeup and Hairstyles (nominated – lost to Goya in Bordeaux)
Best Original Score (Iglesias, won)
Best Production Design (nominated – lost to Goya in Bordeaux)
Best Sound (won)
Best Supporting Actress (Peña, nominee – María Galiana, Alone)
Best Screenplay - Original (Almodóvar, nominee – lost to Alone, Benito Zambrano)
Boston Society of Film Critics Award for Best Foreign Language Film (winner)
British Independent Film Award for Best Foreign Language Film (winner)
Butaca Award for Best Catalan Film Actress (Candela Peña, winner)
Cannes Film Festival Best Director Award (winner)[7]
Cannes Film Festival Prize of the Ecumenical Jury (Pedro Almodóvar, winner)[7]
Chicago Film Critics Association Award for Best Foreign Language Film (winner)
César Award for Best Foreign Film (winner)
David di Donatello for Best Foreign Film (winner)
Jameson People's Choice Award for Best European Director (winner)
European Film Award for Best European Film (winner)
European Film Award for Best European Actress (Cecilia Roth, winner)
GLAAD Media Award for Outstanding Film in Limited Release (nominee)
Independent Spirit Award for Best Foreign Language Film (nominee)
London Film Critics Circle Award for Foreign Language Film of the Year (winner)
Los Angeles Film Critics Association Award for Best Foreign Language Film (winner)
National Board of Review Award for Best Foreign Language Film (winner)
New York Film Critics Circle Award for Best Foreign Language Film (winner)
Premios ACE Award for Best Film (winner)
Premios ACE Award for Best Actress - Cinema (Cecilia Roth, winner)
Premios ACE Award for Best Supporting Actor - Cinema (Fernando Fernán Gómez, winner)
Premios ACE Award for Best Supporting Actress - Cinema (Marisa Paredes, winner)
Satellite Award for Best Foreign Language Film (winner; tied with Three Seasons)

Filmography
Year
English title
Original title
Notes
1980
Pepi, Luci, Bom
Pepi, Luci, Bom y Otras Chicas del Montón
* Original Script
1982
Labyrinth of Passion
Laberinto de Pasiones
* Original Script
1983
Dark Habits
Entre Tinieblas
* Original Script
1984
What Have I Done to Deserve This?
Que he hecho yo para merecer esto
* Original Script
1986
Matador
Matador
Original script with Jesús Ferrero
1987
Law of Desire
La Ley del Deseo
* Original Script
Berlin International Film Festival: Winner of the first Teddy Award
1988
Women on the Verge of a Nervous Breakdown
Mujeres al Borde de un Ataque de Nervios
* Original Script
Goya Award for Best Picture
Nominee of the Academy Award for Best Foreign Language Film
1990
Tie Me Up! Tie Me Down!
¡Átame!
* Original Script
1991
High Heels
Tacones Lejanos
* Original Script
César Award: Best Foreign Film
1993
Kika
Kika
* Original Script
1995
The Flower of My Secret
La Flor de Mi Secreto
* Original Script
1997
Live Flesh
Carne Trémula
* Script with Ray Loriga and Jorge Guerricaechevarría, loosely based on Ruth Rendell’s novel
1999
All About My Mother
Todo Sobre Mi Madre
* Original Script
Winner of the Academy Award for Best Foreign Language Film
Cannes Film Festival: Award for Best Director[23]
Cannes Film Festival: Audience Award
BAFTA Award: Best Film Not in the English Language, Best Original Screenplay
César Award: Best Foreign Film
Chicago Film Critics Association Award for Best Foreign Language Film
Seven Goya Awards (including Best Picture, Best Actress and Best Director)
2002
Talk to Her
Hable Con Ella
* Original Script
Winner of the Academy Award for Best Original Screenplay
BAFTA Award: Best Film Not in the English Language, Best Original Screenplay (Pedro Almodóvar)
Golden Globe Awards: Best Foreign Language Film
Goya Awards (Spain): Best Original Score (Alberto Iglesias)
Los Angeles Film Critics Association: Best Director (Pedro Almodóvar
2004
Bad Education
La Mala Educación
* Original Script
New York Film Critics Circle Awards :Best Foreign Language Film
2006
Volver
Volver
* Original Script
Cannes Film Festival Award for Best Screenplay[27]
Cannes Film Festival Award for Best Actress (for the whole female cast)[27]
Goya Awards: Best Picture, Best Director, Best Actress in Leading Role, Best Supporting Actress, Best Original Music
National Board of Review Award for Best Foreign Film
2009
Broken Embraces
Los Abrazos Rotos
* Original Script
Nominee for Golden Globe Awards: Best Foreign Language Film

进行方式：此社将与南方学院学生的电影研究社合作，由许通元、赵少杰、Kelly或罗友强老师主持，每星期定期选片后放上部落格让有兴趣的观众参考，影片播映完后，由当天主持与观众进行交流。
播放字幕：中文字幕（中日韩片）、英文字幕（欧美及其他）
详情请见：http://tuesfilm.blogspot.com/
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星期二影社敬启

10/11: 翻滾吧！男孩. Jump！Boys.（片長：84分）

日期：11月10日（Tues）
时间：7:00-9:30pm
地点（Venue）：Room 349-350

台湾导演林育贤所拍摄的一部纪录片，片中呈现宜兰县罗东镇公正国小体操队训练、比赛的情形。此片由翻滚男孩电影有限公司于2005年出品，从当年4月15日至7月15日，在台湾各地国小至大学校园中，进行了100场的放映，在纯十六影展与绿色影展后登上大屏幕。此部纪录片的拍摄缘起，是因为导演林育贤在观赏哥哥林育信的儿时照片时，兴起了拍摄的念头。林育信在国小时也是公正国小的体操选手，曾经在高中时夺得全国体操跳马冠军，后来又获得亚洲运动会的体操金牌，然后回到母校担任体操队的教练。林育信当年体操队的队友们，已各奔东西，为了帮林育信现在所带领的这群从幼稚园至国小二年级的小体操选手们留下纪念，林育贤开始了这部纪录片的拍摄过程，纪录小选手们在训练过程中的一点一滴、训练之外的课堂生活、下课后的家庭互动，并穿插小选手同学、师长、家长的对这些小选手的感想，也包括了教练林育信的母亲对儿子从选手到教练一路走来转变的感言。不翻怎知身體好，不滾怎知夢想美...一部關於愛與夢想的體操紀錄片。

《翻滚吧！男孩》在2005年共获得了台湾金马奖最佳纪录片、中国金鸡百花观摩影片、香港亚洲独立电影节观摩影片、韩国釜山影展观摩影片、日本福冈影展观摩影片、台北电影节评审团特别奖与观众票选奖等荣誉和奖项。2006年，在全球37国、251件作品参赛的台湾国际儿童电视影展(TICTFF)中，入围了“台湾奖”和“国际纪录片奖”。


【故事大綱】
幾位來自不同家庭的小男孩，有著截然不同的個性與脾氣，
唯一的共同點是──下課後，不打電動不去麥當勞，直奔體操訓練場。
「再苦也要練下去、哭完繼續練下去、生完氣繼續練下去、
摔倒爬起來再繼續練下去、再痛也要練下去…」
難道，這些小朋友都瘋了嗎？
跳脫沉重批判式的傳統紀錄片，
本片在熱鬧無比的流暢節奏中，
呈現輕鬆幽默的影像觀察，
從教練對小朋友嚴父兼慈母的關愛、教練自己的心路歷程，
到當年隊友失聯四散的感嘆，
今昔對比之間，點出對國內體育養成環境的省思。



【故事背景】
提起體操，不少人總會想到大陸或東歐選手，其實台灣也有人從事小選手培訓。
紀錄片「翻滾吧！男孩」就記錄一位教練在宜蘭縣羅東鎮公正國小帶著七位小男孩苦練，
並拿到全國國小體操團體金牌的故事，有淚水、歡笑，也充滿夢想。
「翻滾吧！男孩」裡的金牌教練，恰巧就是導演的哥哥林育信。
導演說，哥哥從小就很會翻滾、跳躍，看著哥哥俐落的身影，崇拜又羨慕，也想學體操。
但父母認為一個孩子學就夠了，堅決反對，甚至因此替他轉學到另一所小學，他的體操夢就此斷絕。
長大後，導演從事影像工作，哥哥林育信回母校羅東公正國小擔任體操教練。
有一次導演回家，整理舊相簿時發現一張哥哥小時候與體操隊同學參加一場比賽後的合照，
哥哥說當年的小選手而今早已各奔東西，只有少數幾位還留在體操界。
如今哥哥選擇回到母校，培訓一群跟他當年照片中一樣大的小男孩，
似乎是為了延續小時候未完成的夢想。於是導演展開了這部紀錄片的拍攝工作，
替哥哥與他訓練的小選手留下珍貴回憶。
導演對哥哥提出拍紀錄片的構想，哥哥覺得很好，可以當教材，卻不太願意入鏡，因此導演先拍小朋友。
七位小男孩從幼稚園大班到國小二年級不等，加入體操隊後，
天天被「操」，但有的孩子堅持下去，並找到課業無法給的自信。
哥哥在影片拍到最後才接受訪談，導演這才知道哥哥在體操路上的心情起伏與使命感。
曾獲許多國內外體操比賽金牌的林育信教練，
有輕微的小兒痲痺，但從小就愛翻滾，不愛說話，還一度被編入啟智班。
林育信在體操世界找到自己的天空，
可是國中畢業，父親過世，身為長子的他被迫接下水果生意，體操生涯中斷三、四年，
直到羅東高商成立體操隊才又銜接上，最後以黑馬之姿，拿下全國體操跳馬冠軍。

Synopsis
There are seven boys at an elementary school in I-Lan, Taiwan. Their personalities are very different but they do have one thing in common – gymnastics. Unlike most boys at their age, neither do they play online computer games nor do they hang out in the malls. Their passion for gymnastics takes them to the national championship competition. No matter what it takes, no matter how much it hurts and no matter how difficult it is, their goal is clear and that is to become the best in gymnastics!

No videogames or McDonald’s after school: no matter how painstaking the training, these young gymnasts never give up. Each comes from a different background with a different temperament, the only common thing between them is -- they never quit. As one puts it, "I must endure the pain! I must persevere no matter how hard it is, no matter how many times I fall or how much it hurts." An often humorous study of the relationship between the coach and his charges, JUMP! BOYS also offers insight into the broader world of sports in Taiwan.


导演林育贤在《翻滚吧！男孩》一片之后，还拍过一部也是以体育为题材，九二一大地震为事件背景的宣传短片，《空手道少年》。

Dui bu qi wo ai ni (2009)
... aka Su mi ma sen, Love (International: English title)
Liu hao chu kou (2006)
... aka Exit No. 6 (International: English title)
Fan gun ba! Nan hai (2005)
... aka Jump Boys (International: English title: literal title)

LIN, Yu-Hsien / 林育賢
Lin has been working as a filmmaker serving as director, screenwriter and editor in Taiwan for many years. His work delivers subtle observations and social reflections in a humorous and fast-paced style. In 2005 his first highly acclaimed documentary film "Jump! Boys" won Best Documentary in the Golden Horse Film Festival. It remained in theaters for three months and broke box office records for that genre. In July of 2006, it was released in Japan. In 2007, Lin made his feature film debut, "Exit No. 6". His latest feature film is "Sumimasen, Love".

Filmography / Awards
2008 《SUMIMASEN, LOVE》Drama/35 mm/75min Kaohsiung International Film Festival 2008 《The Turn of The Game》Documentary/Digital Beta/ 80min Taipei Film Festival in Competition 2008 《The Man Who Plants Trees》Documentary/Digital Beta/ 55min Thessaloniki Documentary Festival2007 《Exit No.6》Drama/ 35mm/ 95min Shanghai International Film Festival Asian New Talent in Competition Zlin International Film Festival for Children and Youth Syracuse International Film Festival 2006《Elephant Boy and the Robot Girl 》Documentary/Digital Beta/45min Taipei Film Festival in Competition 2005《Jump!Boys》Documentary/35mm/84minTaipei Golden Horse Film Festival - Best Documentary Pusan International Film Festival Fukuoka International Film FestivalTaipei Film Festival / Audience Choice Award 2003 《His-Men Street》Documentary/Digital Beta/30min Taipei Golden Horse Film Festival2002 《Pray for Graffiti》Documentary/DV/10minPublic Television Service Foundation -View Point Festival Taipei Golden Horse Film FestivalAsia Television Documentary Film FestivalJVC Tokyo Video FestivalAmerica San Diego Documentary Film Festival
2005 Asian First Film Festival Won Swarovski Trophy Honorable Mention

29/10: GADOH放映会

星期二影社将在下星期四（29日）假南方学院125室播映马来西亚独立电影GADOH，电影导演将出席与观众交流。详情如下:

原本在下星期二（27日）播映的《薄暮之光》会押后一星期（11月3日）再播映，因为当日晚上7点半，南方学院英文系将在125室将播映“The Curious Case of Benjamin Button”

南方学院独立电影 GADOH放映会

(士姑来讯) 南方学院星期二影社即将在本月29日（星期四）晚上7点半假新山南方学院125室播映独立电影GADOH。此放映会是The Big Production续在吉隆坡等大专播映后，在新山特此联办。届时，Brenda Danker导演将莅临现场与观众分享与交流。

此影片是导演Brenda Danker 和身兼副导、编剧及演员的Namron合作，探讨马来西亚新一代种族关系。故事围绕着学校的一群青少年的故事，探讨新一代种族课题等。GADOH，顾名思义即争吵或纠纷。一群中学生在学校以肤色分派殴斗引起校方的注意。一位女老师为了挽救校誉，独排众议以她的方式协助这群学生，相信能带来真正的改变。她获得身为舞台表演者的好友协助。在学习舞台表演的过程中，两派人马经历不少摩擦，也显现了对他族的误解和刻板印象。

剧情渗入许多地方性的笑点，再加上人物形象刻划鲜明，令人惊艳。整部戏里的每一个镜头，都是实实在在发生在我们身边的故事。观看这部戏其实是一面镜子，反映了我们现实生活的一面，偏见与歧视，在这片标榜和谐的国土上每天上演。

Brenda Danker导演，1997年大众传播系毕业后从事动画制作技术。她亦曾担任监制，市场主管、电视广告和MTV等后期制作。之后，导演转投“Disney Buzz”（迪尼斯频道的儿童节目）的制作经理及副导，负责更多的室内及室外录影及后期制作。
演员Nam Ron毕业自国家艺术学院。透过与名导演如雅斯敏阿末、李添兴、陈翠梅、吴明金与Amir Muhammad的合作关系，Nam Ron 也是现时马来西亚其中一名最多产的戏剧兼电影演员。出色的演戏天赋令他在同代演员中备受瞩目。他是一名热爱电影的电影导演。至今，他已执导数部短片、电视剧以及一部独资数码电影长片Gadoh。他擅长采用象征手法展示丰富的视觉美感，也对社会政治有着深切的关怀和理解。这都是Nam Ron成为马来西亚中其中一名精彩的电影新生代人物。除了参与数部商业广告和国内名导演执导的独立电影，Nam Ron现正编写新作，预期在2010年开拍第二部电影。
今次放映会入场免费，欢迎公众人士出席交流。关于电影详情，欢迎浏览 www.komas.org/gadoh。任何咨询，敬请联络南方学院星期二影社的许通元（07-5586605 ext143）或新闻系讲师罗友强（016-7478987）。


About Gadoh and screening:

The Big Picture Production would like to screen Gadoh in Southern College with Tuesday Film Society. This movie is actively screening in colleges/universities or at the young people's haunts. So far this movie had screened in HELP, UM, KL Pac, UNITEN, UiTM, Laundry Bar(The Curve), Disted College (Pg), USM (Pg) etc.

The film is 70 mins and free admission. We could have a discussion after the screening. The Director, Ms. Brenda Danker will be attending this screening as well. The subtitle in Mandarin is available for this movie. For info on Gadoh, pls check www.komas.org/gadoh
SynopsisGadoh tells a story of a group of teenagers who fought each other along racial lines; a cycle of hatred and violence further escalated by their environment and school system.What was to be a quick resolution to improve the school’s bad image, was taken as an opportunity for one teacher who believed that real change was possible. She ropes in the help of an old friend and reluctant maverick theater activist for this arduous task.Is there hope amidst the cycle of discrimination that surrounds us? Watch Gadoh for their story, and what it may very well tell us about ourselves.

Brenda Danker Brenda started working in Animated & Production Techniques (APT) in 1997 upon graduating with a degree in Mass Communications. As Marketing Executive she handled the marketing for Production and Post Production facilites as well as produced in house TV programs. She was also in charge of the post production for TV Commercials, Corporate Videos and Music Videos. With 3 years experience working in APT which later changed its name to Equal Quantam Services (EQS), Brenda moved on to Fringe Films as Production Manager and Assistant Director handling "Disney Buzz", a children’s program for Disney Channel. She was in charge of the studio shoots, outdoor location shoots as well as all the post-production work for the program.

Movie Info:

Duration: 70 mins

Director: Brenda Danker, Namron

Producer: Anna HarProduction

Company: Big Pictures Productions

Supported by Pusat KOMAS

Starring: Namron, Nicholas Liew Davis, Zahiril Adzim, Amerul Affendi and Maya Tan AbdullahLanguage: Bahasa Malaysia with English/BM subtitles

Poster design by: Alexdrina Chong, Lucid Design Collaborative Studio

27/10: Lights in the Dusk（薄暮之光）（2006年，74 min）

日期：11月3日（Tues）
时间：7:00-9:30pm
地点（Venue）：Room 349-350

电影简介：

在考里斯马基兄弟的电影里，冷峻的情节和摄影，对摇滚的准确把握，刻画了一个与外人猜想的福利天堂相比，更无情，也更真实和粗暴的芬兰。影片主人公考斯蒂南是一个值夜保安，虽然年纪轻轻却没有同龄人的朝气蓬勃，孤独像挥之不去的网，紧紧纠缠住考斯蒂南的内心与生活，他常常被周围人取笑，贫瘠的生活和对情感的渴望让他无力自拔。一次偶然，考斯蒂南邂逅了举止优雅的金发美女米尔雅，随着压抑已久的情感轰然爆发，考斯蒂南将米尔亚视作生命中的全部，甚至刚结识不久就提出求婚。单纯的考斯蒂南并不知晓，米尔雅其实是个情场老手，是个地地道道的骗子，经常和一群乌合... ...

Synopsis：

Lights in the Dusk (Finnish: Laitakaupungin valot) is a Finnish 2006 film directed and written by Aki Kaurismäki. It is the last installment in Kaurismäki's Finland trilogy. It features Janne Hyytiäinen, Ilkka Koivula and Maria Järvenhelmi. The film is about a security man who meets a femme fatale who sets him up using his gullibility and loyalty. The film was presented at the 2006 Cannes Film Festival. It was chosen as Finland's nominee for the 79th Academy Awards in the category of Best Foreign Language Film. However, Kaurismäki decided to boycott the awards and refused the nomination as a protest against US President George W. Bush's foreign policy. Kaurismäki also boycotted the 2002 gala, when his previous film The Man Without a Past was nominated for an Oscar.

导演简介：

阿基·考里斯马基是芬兰影坛的重量级人物，是欧洲各大电影节的夺奖专业户。他在1990年的《火柴厂女工》、1992年的《波西米亚人生》和1999年的《爱是生死相许》在柏林国际电影节三次夺奖；当代芬兰三部曲的首部、1996年的《浮云往事》在戛纳电影节获普通评审团特别奖，2002年的《没有过去的男人》再获评审团大奖和普通评审团奖，2006年三部曲的完结篇《薄暮之光》继续入围戛纳，足以证明欧洲影坛对阿齐·考里斯马基的偏爱。他被称作“当代电影导演里的摇滚者”。他的所有电影都是同样的主题:边缘生命在社会中的被压迫和不平等;经常揶揄媒体甚至耍无赖，平时的导演方式更是独裁到极点，固定用一些有着很强个性能穿透屏幕的演员。

Director Biography:

Aki Kaurismäki started his career as a co-director in the films of his elder brother Mika Kaurismäki. His debut as an independent director was Crime and Punishment (1983), Dostoevsky's famous crime story set in modern-day Helsinki, Finland. He gained worldwide notice with his movie Leningrad Cowboys Go America. His style has been influenced by the French directors Jean-Pierre Melville and Robert Bresson, as he relies on low-key acting and simple cinematic storytelling to get his message(s) across. Much of his work is centred on Helsinki, his native city, particularly Calamari Union which is largely set in the working class neighbourhood of Kallio, and the trilogy that comprises Shadows in Paradise, Ariel, and The Match Factory Girl.

20/10: Everything You Always Wanted to Know About Sex* But Were Afraid to Ask （性爱宝典）（1972年，84min）

日期：10月20日（Tues）
时间：7:00-9:30pm
地点（Venue）：Room 349-350

电影简介：

本片由导演伍迪·艾伦亲自出演，全片以章回的形式共提出了七个问题，分别触及了七个敏感而又令人尴尬的性的话题。 依次为“要春药吗？”、“何谓兽奸”、“女人性冷感之迷中”、“异装癖”、“什么叫性异常”、“性学博士的实验可信吗”、“射精时会怎样”。虽然不像武林秘笈中的某某宝典一样，传授的是不二法门的独家心法，但这部宝典还是力争做到百科全书一样的全面和权威。

Synopsis：
Seven segments related to one another only in that they all purport to be based on sections of the book by David Reuben. The segments range from "Do Aphrodisiacs Work?" in which a court jester gives an aphrodisiac to the Queen and is, in the end, beheaded to "What Happens During Ejaculation?" in which we watch 'control central' during a successful seduction.

导演简介：

伍迪·艾伦是20世纪后半期重要的美国电影导演和喜剧演员。如同查理·卓别林，他自编、自导、自演大部分他的影片。他最好的影片包含了幽默、细腻和感伤。影片中的角色通常是一个自我关注，伴有神经衰弱，时常呓语连连并缺乏安全感的现代人物。几乎所有他的影片的场景都设置在曼哈顿。那里为他的故事线索提供了那个城市诡辩并有些许浪漫的形象。伍迪艾伦的电影以黑色幽默见长，题材涉猎广泛，包括死亡，性，不道德的行为，他擅长以小见大，在描写小人物的经历时，深入挖掘人性，探讨人性，而且大胆地，机智地运用讽刺手法，而这些让人看后又想笑又.. .. ..

Director Biography:

Woody Allen was born on 1935 in Brooklyn, New York. He directed his first film a year later, What's Up, Tiger Lily? (1966) in 1966. While best known for his romantic comedies of "Annie Hall" and "Manhattan," Woody has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of "Bananas," "Love and Death" and "Everything You Always Wanted To Know About Sex But Were Afraid To Ask;" to his more storied and romantic comedies of "Annie Hall," "Manhattan" and "Hannah and Her Sisters;" to the Bergman-esque films of "Stardust Memories" and "Interiors;" and then on to the more recent, but varied works of "Crimes and Misdemeanors," "Husbands and Wives," "Mighty Aphrodite," "Celebrity" and "Deconstructing Harry;" and finally to his film of the last decade, which vary from the light comedy of "Scoop," to the self-destructive darkness of "Match Point" and, most recently, to the cinematically beautiful tale of "Vicky Cristina Barcelona."