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This adaptation of a story by Knut Hamsun is about the impossible love between miller’s son Johannes and Victoria, the daughter of a manor house owner. Created as a co-production with ZDF, Widerberg adapted the original with fidelity to each and every detail while placing his own emphasis along the way. The translation of the dialogue into English – for production technical reasons – heightens the artificiality of the film, which can also be seen as creating an ironic distance to the romantic material. VICTORIA exhibits numerous similarities to ELVIRA MADIGAN, but remains more reserved, calmer, more autumnal. The film’(🍋)s poor reception was one of the reasons why Widerberg was only able to make three more features in his final 18 years of life. Comic thriller which, with its unorthodox narrative about a woman's confession of a murder, deconstructs the conventions of the genre.-----------BFI 故事(shì )发生在名(🐺)为“三(🥢)(sān )宝寺(sì )”的(💭)古刹之中，住持(chí )即(🎉)将圆寂的消息惹(💰)得(dé )江(jiāng )湖之中(🏠)一片风雨，原(yuá(🙏)n )因(yī(🚋)n )在于寺庙之中藏(⭕)有(yǒu )的(de )珍贵手写(🚴)经书《大(dà )乘(ché(🐯)ng )起(qǐ(🌨) )信论》，谁若能(👎)(néng )接(📜)(jiē )替(tì )住持的(🐦)衣钵，便能获(huò )得(🤐)这无(🛵)价的珍宝。住(🔧)(zhù )持(📉)有三个徒弟，传(🥔)衣(yī )钵(bō )是大事(🚿)，于是(🦍)，住持(chí )请(qǐ(🕝)ng )来(🚧)了王将军（田丰(🐹)(fēng ) 饰(shì )）、施主(🚓)文安(♟)（孙(sūn )越 饰(🛬)(shì )）和悟外法师 （(👯) 吴家(jiā )骧 饰），除(😗)了悟外法(fǎ )师之(🏀)外的两人均觊(🔉)觎(yú(🧦) )经(jīng )书的价值连(🍾)城，文安(ān )甚(shèn )至(🐇)带来了女飞贼(🎀)白(bá(⏭)i )狐(hú )（徐枫(📋) 饰）(👚)以备不(bú )时(shí(📴) )之(zhī )需。 刘灵珊（(🔰)林(lí(🖊)n )青(qīng )霞(xiá ) 饰(🔛)）是(🌓)一名老师，一(yī(🕧) )次偶然中，她结识(😇)了(le )名(🦈)叫楚楚（赖(🎢)怡(👧)君 饰(shì )）的女孩(🏳)，以及楚楚的(de )父(fù(🏔) )亲韦(🖱)鹏飞（秦祥(🌱)林(lín ) 饰(shì )）。韦鹏飞(🌵)告诉刘(liú )灵珊(shā(⏲)n )，楚楚的母亲裴(pé(🏘)i )欣桐(tóng )（谢玲(😽)玲 饰(🍿)）早年抛(pāo )弃了(♐)他们父女二人，这(🎏)(zhè )段悲伤的经(🍱)历打(🌀)动了(le )单(dān )纯(🆕)善良(🐘)的刘灵珊，她(tā(🌷) )和韦鹏飞之间的(😖)距(jù(🏓) )离(lí )越(yuè )来(🎙)越近(👆)，最终坠(zhuì )入(rù(🧢) )了(le )爱河。 八十年代(🕵)的上(➿)(shàng )海，公交车(☕)上(🐇)售票员(yuán )的服务(🕰)态度引起广大(dà(⤵) )市(shì(💆) )民的关注和(👤)议论。小(xiǎo )青(qīng )（陈(♑)以心 饰）态度(dù(🚦) )热(rè )情(qíng )、尊老(🌉)携幼，深(shēn )得乘(👠)(chéng )客(🐵)称赞。而小黄(huáng )（(🗃)迟(chí )志强 饰）正(🕍)与之相反(fǎn )，借(🌛)囗嗓(🖕)子疼，站名(mí(👇)ng )也(yě(🚙) )不报，乘客对他(🔭)意见(jiàn )很(hěn )大。而(✒)驾驶(➰)员小洪(hóng )（(📦)张明(🙂)明 饰）则对交(🈺)(jiāo )警(jǐng )小(xiǎo )白（(💁)于延(💏) 平）老(lǎo )让(🐥)(rà(😆)ng )她(tā )吃红灯有一(🏙)肚子怨言(yán )。饭店(❣)工作(🗺)的小葛（王(🐸)伟平 饰）是个革新(💯)(xīn )能(néng )手，他发明(🏊)了报站扬(yáng )声(shē(🔟)ng )器及红绿灯自(🎧)动显(🔘)(xiǎn )示(shì )装(zhuāng )置。在(🥒)改革发明(míng )中，小(📯)字辈们渐渐产(🦏)(chǎn )生(📼)(shēng )友(yǒu )谊，进(🍸)而发(🎾)展为爱情(qíng )，不(👘)少人成双成对出(🏻)(chū )入(🏋)(rù )公园等娱(⚓)乐场(⛰)所，热(rè )衷发明(🐲)的小葛不善于(yú(👅) )对(duì(🥣) )爱慕着他的(🐥)小(📤)青表(biǎo )达(dá )自(zì(🕕) )己的感情，于是(shì(💂) )，他(tā(💗) )通过录音带(🕛)传递自己(jǐ )无法说(🥈)出口的话。小(xiǎo )革(📿)新、小发明不仅(🕦)增(zēng )强(qiáng )了年(🏵)青人(📱)热爱学习的(de )兴(xì(🔦)ng )趣，也让他们对未(🧝)(wèi )来(lái )的生活(🐼)充满(Ⓜ)信心...... “Jon Jost’s Chameleon was probably the happiest instance of a mixed marriage at the Festival (Edinburgh 1979): combining a freak, trippy (in fact almost Corman-esque) saga of a dope-dealer and all-round hustler with an abstract distillation of patterns of color and light. The place of the latter in the film is both somewhere within the drug-laced nimbus of its title character, Terry (Bob Glaudini), and somewhere outside its ironic description of the rampant merchandising of all other human activities. In a way, this abstract element almost serves as a secondary narrative, or at least becomes the ‘point’(👉) of the film. At the beginning, Terry is seen hustling a painter of just such abstract designs to come up with six imitations of another painter which he can unload on the art market. With some ‘persuasion’(🗄), Terry overcomes the painter’s reluctance, and at the end of the film returns to collect his merchandise. But the rolls of paper his is given turn out to be blank, and the painter defiantly protests, ‘My life is color, form, the shape of things...’ before Terry knocks him down and leaves him lying in a pool of spilled colors that returns us to the abstracts which were shown in detail in the opening shots. It is probably not too deterministic a reading to see Jost as the painter and the blank sheets as the conventional movie which he has refused to provide for audience consumption. Based on the actual 11-day disappearance of famed mystery writer Agatha Christie in 1926, the film fictionalizes her whereabouts during that time. When her husband announces that he is leaving her for another woman, Christie creates a mystery out of her own life by hiding in a Harrogate hotel and plotting revenge on her spouse while all of England searches for her. The reporter who finds Christie tries to foil her plan and finally falls in love with her. Min-wu is a would-be mystery writer working at a detective agency. Choi Seong-du has Min-wu trace his wife Mi-kyung. In the process, Min-wu witnesses the discord between love and hate and is able to solve his problems. 득보는(🤴) 분이를 찾아 황토(👌)골에(🈂) 온다. 분이는(🔡) 장사(🈵) 억쇠에게 마음(💅)을 빼앗기고 있다(🐬). 화가(📂)난 득보는 억(🙂)쇠(📡)와 싸움을 하지만(🚋) 억쇠의 힘과 인품(🚼)에 정(😽)을 느껴 황토(💯)골에 머물게 된다. 억(🤨)쇠는 득보에게 생(🚦)활까지 도와주면(🥓)서 인정을 베풀(☕)고 득(🗼)보는 분이를 억쇠(😿)에게 시집보내게(🙊) 된다. 분이는 장(🌴)차 억(💽)쇠가 우국지(👍)사가(🈷) 되기를 원하지(🌡)만 득보와 억쇠는(📗) 술 추(🕷)념으로 현실(👽)도피(🤵)적 생활만 한다(👬). 분이는 그런 억쇠(🕟)의 행(🛄)동이 설희와(🥉) 득(♟)보의 탓이라 여기(🍑)고 설희를 죽이고(🈳),득보(😪)에게 중상을(💽) 입힌 후 자신도 자결(😳)한다. 분이가 죽은(🐾) 후 그녀의 충성과(🐙) 순수함을 알게(😢) 된 억(🛷)쇠는 쇠기둥과 함(🔽)께 절벽 아래로 떨(🔣)어져 죽는다. 商(😷)业巨(🌱)贾洪(hóng )天踪(🤺)(zōng )，年(🍸)届六旬，有(yǒu )子(⛪)(zǐ )四(sì )名，他希望(✖)在有(👟)生之(zhī )年，能(🗼)目睹(🎡)儿子继承(chéng )父(🚮)业，特籍家宴向各(⛰)界(jiè(❎) )宣布。今后洪(😓)家业务(wù )交(jiāo )由长(💺)子洪英全权章(zhā(✌)ng )理(lǐ(⛵) )。洪老为使洪(🕸)家(⛴)产(chǎn )业巩(gǒng )固世(🥨)袭，特在祖先坛(tá(🍃)n )前，定下“家法”，务使(🐖)兄弟四人能在长(zhǎ(📝)ng )子(zǐ )洪英掌理之(🏺)下，同心(xīn )协(xié )力(➡)，共策共谋，达(dá(👬) )至(zhì(👔) )威名远扬。洪老大(⬆)(dà )寿筵(yàn )席间，突来一名(míng )不(bú(🎿) )速(sù(♎) )之客顾雄武(🧞)，是夜(⚪)前(qián )来有意把(🛋)前年的恩怨(yuàn )旧(🎞)事重(📈)提，故作多方(📊)挑(tiāo )惹，幸得长子英(⏲)明，击(jī )破诡计，使(🔽)顾老(🍏)悻(xìng )悻(xìng )而(🥪)(é(🤒)r )离……