警察埃布尔（(😴)让·雷(⏳)诺(nuò ) Jean Reno饰(🐆)）一(yī(🍞) )贯(guàn )以(🐗)英勇(yǒng )无畏、(🛬)雷厉风行的形象(xiàng )呈于人(rén )前(qián )，他对(duì )待犯人的手(👐)段几近(🍰)残忍(rě(👔)n )，从不(bú(🥠) )手(shǒu )软(🕹)。可(kě )是(👠)硬汉的(📖)内心却隐藏了(le )一段尘(chén )封(fēng )已久的(de )情伤——19年前，他(🍚)的日本(📐)女友蜜(⭕)(mì )子不(⛴)告(gào )而(🧤)别，埃布(🍟)尔整整思念女友19年，不曾移(yí )情(qíng )。
ビッグシティ・TOKYO。クラブに集う仲(🐓)(zhòng )間(jiā(♍)n )のひと(🤚)り・PLATIMUMの(🍓)女が何(〰)者かに誘(yòu )拐(🍛)され、彼女の命と引き換えに、CD-ROMを隠(yǐn )したテディ(🤕)ベアを(🆖)新宿の(⤴)廃病院(🐯)から東(🍯)(dōng )京タ(🎳)ワーの(🏔)展望(wàng )台まで、行く手を阻む敵の攻(gōng )撃(jī )をかわしなが(🆑)ら夜明(🧙)けまで(👰)に届け(📡)ること(🔯)になったHIRφとZEEBRAと仲間たち。だが、これは謎(mí )の黒幕によって仕組(🦄)まれた(🛁)ゲーム(👬)で、そ(🙇)の全容(😋)は大金をベッ(🤕)トし興奮(fèn )する客(kè )たちのもとに同時中継されて(📜)いた。病(🌛)(bìng )院(yuà(⛓)n )から首(🔴)(shǒu )尾良(🐃)くテデ(👝)ィベア(🙇)をゲットしたHIRφとZEEBRAたちだったが、新宿のカラス軍(jun1 )団(tuán )、(⚪)渋谷(gǔ(🥩) )のオオ(🙁)カミ軍(👣)団、六(🐌)本木のトラ軍団たちの攻撃に、HARU、リオ、純が次々に殺されてい(🍃)く・・(🚓)・。
咸丰(🤓)八年的(📴)浙(zhè )江(🈷)绍兴(xìng ),一(yī )条(🌠)乌蓬船上坐着一位年轻英俊(jun4 )、踌躇(chú )满(mǎn )志的青(qī(🌏)ng )年人,他(🐴)就是去(😛)县城应(🔆)试(shì )秀(🤑)才的(de )青(🤙)(qīng )年孔(🧡)少(shǎo )成。
清末，北京最有名(míng )的古玩(wán )店(diàn )"至真堂(táng )"收藏着一(🌭)尊周王(📯)鼎。一(yī(🚩) )天，隆(ló(🎇)ng )爷(yé )告(🥈)之父(fù )亲老隆爷另有一只周王鼎也找(zhǎo )到(dào )了，这(zhè )消息给病中的(🔤)老隆爷(🐊)带来了(🎭)安慰(wè(📡)i )。寿宴(yà(🆓)n )上(shàng )，一对宝鼎(🛠)招来众人的称赞，"宝珍斋(zhāi )"老(lǎo )板金爷上前指出一只(📖)鼎为赝(🛡)品(pǐn )，老(🌎)隆(lóng )爷(🉑)(yé )气急(✍)之(zhī )中(🈚)一病不起。
九纹龙（郑伊健(jiàn ) 饰(shì )）曾经(jīng )叱咤江湖，这号风云人(ré(🎁)n )物却被(🥍)(bèi )人(ré(🐧)n )出卖，在(🃏)泰国被(🌷)拘捕。多年后(hòu )他回到(dào )香(xiāng )港，在(zài )“九龙冰室”当侍应，打算就(jiù )此(cǐ(😯) )在江湖(🏎)(hú )销声(🚥)匿迹。怎(💜)料一名(🤛)6岁的男孩直(zhí(🤠) )呼自己(jǐ )爸爸，原来这个叫张兆龙的男孩(hái )是当年(niá(🎸)n )他(tā )远(⛑)赴泰国(🕯)后女友(💚)Helen（莫文(🎌)蔚 饰）(📸)生下的(de )儿(ér )子。当(dāng )年纹龙为了女友的安全(quán )，狠心(xīn )不(bú )辞而别(bié(🕝) )。兆龙的(🎺)出现使(🏷)纹龙的(🕖)(de )生活再(🌵)(zài )次(cì )泛起波(bō )澜，他的气质吸引的儿(ér )子的班(bān )主(zhǔ )任阿蒙(méng )（(📿)李彩桦(💤) 饰）。纹(📸)龙的身(😔)份还(há(✏)i )是(shì )被江湖(hú(🛵) )之人发现了，并希望他能重振雄(xióng )风。Helen再(zài )次见到的纹(💕)龙已经(📏)风光不(🏃)再，她(tā(🆙) )积极为(👢)(wéi )纹(wé(🏦)n )龙的复出铺路，纹龙却不想再(zài )过问江(jiāng )湖(hú )事……
A poignant yet understated film which focuses on the everyday hardships of an isolated Iranian community on the border with Afghanistan, Delbaran centres on the story of a 14-year Afghan refugee working in a truck stop in the 'town' which gives its name to the film. The film is unusual in having very little dialogue and offers nothing by way of explanation of the wider context of war and cross-border migration which forms the backdrop to the events that are portrayed. The characters in the film are all too aware of the conflict and the sounds of automatic weapons are always within earshot, but they are so much an accepted part of their lives that they feel no need to comment on them. And that is one of the strengths of the film that makes it so compelling a portrait of life in this remote community. At one level, very little seems to go on in the film which has the feel of a documentary without a voiceover. In fact, a lot happens off camera, as revealed by indirect images and sounds, but the main emphasis of the film is the extraordinary yet humdrum nature of life in a marginalized community. The film has a distinctive look and feel, with an emphasis on images, movement and sound, and, although one would be hard pressed to identify a conventional narrative structure or message, there are aspects that resonate in the mind long after watching it. A recurring image is of three or even four men riding a single motorbike back and forth along a dusty mountain road. An especially poignant moment in a film in which the hardships of life mean that the characters hardly ever show great emotion, is when the central character of the 14-year old boy, Kaim, is offered medical help for an ear infection: his smile lights up the screen at this small act of human kindness. Highly recommended.