《小东西》将影(yǐng )片背景设在(🏷)遥(🔉)(yáo )远偏僻的内蒙(méng )古大草(🎽)原(🆗)，一(🔯)(yī )个西方游客借(jiè )宿在一(🖱)个(🐞)中国牧民的家里，发(fā )生了(🏥)一(🏥)段中西(xī )方文化的碰撞(zhuà(🐝)ng )。出(🌜)演主角的(de )画家毛焰和他(tā )的(🦆)模(😠)特Thomas是合作(zuò )了10年的搭档，在(😋)当(🤝)代艺术圈成(chéng )了独特的现(🏼)象(🏺)(xiàng )。影片最后回(huí )到毛焰的(♋)画(🍙)室(🗝)(shì )，语境变了，但碰撞仍在继(📯)续(⭐)，而一个自称(chēng )来自外星的(🐶)人(🤹)(rén )却被毫不犹豫(yù )地排斥(🎤)在(😼)外(👑)。
上世纪90年代，一个北非村庄(💖)(zhuā(🐽)ng )里，八名法国西多会修士严(🏃)守(✅)着基督教的信(xìn )条，在修道(⛷)院(☕)(yuàn )唱诗、礼拜、救死扶伤，与(😲)(yǔ(➗) )当地穆斯林村(cūn )民和谐相(🤨)处(🍘)。然而，一次恐怖(bù )主义分子(😖)的(🐜)袭(xí )击，打破了这(zhè )份宁静(🤚)。工(⤵)地(🌦)(dì )上，外籍工人(rén )惨遭屠戮(👑)，西(🛶)多会开始遭到村(cūn )民的怀(🍈)疑(📛)和怨(yuàn )恨。此时，政(zhèng )府军决(📺)定(👣)对(🤶)修(xiū )道院加强护卫(wèi )，然而(🕚)以(🚁)克里斯汀（朗贝尔•维尔(🌐)森(🐈) Lambert Wilson 饰）为首的修士们最(zuì )终(🥥)拒(👥)绝了军队(duì )的要求。在圣(shèng )诞(⏫)节(🌷)前夜里，一群原教旨主(zhǔ )义(🌑)者(🗃)深夜来访，宣称对这场屠(tú(😊) )杀(🐙)事件负责。在教堂门口，基督(🃏)教(🧛)修(🔵)士与(yǔ )伊斯兰教门徒(tú )进(🏴)行(🏷)了教义上的短兵相接。修(xiū(🆕) )士(🚡)们用勇气和(hé )教义捍卫了(🏬)尊(💌)(zū(📩)n )严，全身而退(tuì )。然而，政府(fǔ(🗣) )军(🕗)随后杀到，不仅活捉了恐怖(🌄)分(🏓)子，而且用卑劣的死刑处(chù(🦗) )死(⚓)了头目。他(tā )们怀疑修士与(yǔ(🏉) )恐(🏃)怖分子私通(tōng )，于是把矛头(🍕)(tó(🚅)u )对准了这座教堂……
东北(⏸)某(💤)地(dì )小山村卧虎屯(tún )，在村(🤙)民(👚)自(🏽)治(zhì )委员会换届选(xuǎn )举的(🚞)过(🆎)程中，发生的一些故事。
本片(🍣)讲(🍫)述了(le )6段烈日中的爱(ài )情故(😳)事(🖊)：(🐪)香港(gǎng )的中年司机（张学(🙌)友(🙍) 饰）因(yīn )故结识了深圳的(🎖)洗(📣)脚妹（刘若英 饰），两人日(👘)久(🤤)生情；深(shēn )圳，Wasabi（徐若瑄(xuān ) 饰(🎛)）(🌧)一直苦等(děng )酱油师傅（吴(🕠)(wú(👳) )彦祖 饰）对爱(ài )的回应，但(🗃)对(🌷)方却心怀苦衷；香港，海滩(🗞)卖(🏝)(mà(🔦)i )遮阳伞的大叔(shū )（刘家辉(🌸) 饰(🐡)）推销笑话，但(dàn )内心始终(🏓)牵(😥)挂着亡妻；深圳，修理工阿(🌆)威(😣)（(🕸)谢霆锋 饰）邂(xiè )逅了飞车(🥛)女(🚒)（徐熙媛 饰）碰(pèng )撞出了(🔲)火(🗨)花；北京摄影师（段奕宏(💂) 饰(💑)）对模特的表现不满(mǎn )，后者(🌜)负(🤛)气离(lí )去，而他却突(tū )然失(🦊)明(😢)，在助(zhù )手（付辛博 饰(shì )）(🌿)的(🎭)陪伴下，他们追到深圳，各怀心(⛰)事(🚦)；20年(nián )前的镇江，乡(xiāng )下男(🆓)孩(🍯)（井柏(bǎi )然 饰）爱慕纺(fǎ(🥣)ng )织(😻)女工（Angelababy 饰），并接受了在烈(liè(🕙) )日(🚽)下苦等100天的(de )爱情誓约……(🎓)
野(🚒)心勃勃的文(wén )学经纪人亚(👌)历(⏳)(lì )山大忙碌的一天是这样(📮)度(😾)过的：阅读一堆堆(duī )手稿，完(⛵)成(⏸)一(yī )庄庄交易，带(dài )着有名(😸)的(💼)客户(hù )去吃午饭。但(dàn )是现(🥍)在(🛃)，他不(bú )得不首先处理一位作(🔃)家(🐰)的最新(xīn )作品，说实话(huà )他(✡)觉(🔺)得这个作(zuò )品不够好。然(rá(🐈)n )而(📗)，这位作家(jiā )的足智多谋也是(🚪)他(🏬)没有想到的(de )...这部犀利而又(🐆)(yò(🍪)u )有幽默的电影(yǐng )带领观众(🔂)走(👵)进(jìn )印刷业的台前(qián )幕后(🏈)，见(🧓)证一本本畅销书是如何诞生(👺)的(🦕)。
Considering all the critical attention Howard Hawks has received over the years it's rather surprising that this film, the sixth he directed, is so little known. Admittedly, FAZIL is not at all typical of Hawks' work and lacks most of his recognizable directorial motifs, and on top of that features stars whose names only buffs will recognize, but it's a beautifully filmed, sumptuously mounted late silent drama that's worth seeing for its production values alone. For viewers of our era the most striking aspect of the film is that its story is based on a culture clash of West vs. East, specifically, the difficulties that arise when a European (presumably secular) woman who prides herself on being "free" and modern marries an Arab man who follows the old ways and is a devout Muslim. This material lies in a danger zone that Hollywood has rarely ventured into, even in recent years, and while to our eyes FAZIL is quite dated and very much a product of its time in its depiction of Arabic culture, it's nonetheless surprisingly even-handed in presenting both sides of the case in a painful divide that, needless to say, is still with us.