伊迪•阿敏•达达（Idi Amin Dada），真情之养乌干达20世纪70年代保守争议的统治者。1971年率领部队发动政变，真情之养在位期间积极向外扩张，在国内则实行高压统治，排除异己。一系列独裁手段使其在国际上声名狼藉。为了挽回声誉，阿敏邀请了一个法国纪录片工作组拍摄他日程工作起居的影片。导演巴贝特•舒莱德（bet Schroeder）并未将影片拍摄成歌功颂德的吹捧之作，他删除阿敏大段的演讲画面，而更侧重对其真实性情的刻画。影片已经上映引起轰动，却也触怒了阿敏，他要求剧组对影片重新剪辑，并将在乌干达逗留的法国人扣为人质。此举震惊世界。
回复 :Celestine, the chambermaid, has a new job in the country, at the Lanlaires. She has decided to use her beauty to seduce a wealthy man. But Mr Lanlaire is not a right choice: all the house is firmly controlled by Mme Lanlaire, helped by the strange valet Joseph. Then she tries the neighbour, ex-officer Mauger. This seems to work. But soon the son of the Lanlaires comes back. He is young, attractive, and does not share his mother's anti-republicans opinions. So Celestine's beauty attracts Captain Mauger, young Georges Lanlaire, and also Joseph. Three men, from three different social classes, with three different conceptions of life. Will Celestine be able to convince Georges of her sincerity ? Will sinister and inflexible Joseph let his views upon Celestine be ruined ? A quite disillusioned depiction of humanity.
刘恺威
回复 :噗通入水，愛嘉比湘琪游快了一點，她們是最好的朋 友，但比賽裡只有對手。湘琪的發育比愛嘉慢了一些， 瘦小的她想靠體保生名額繼續升學。女孩迎來初經， 成熟了身體，萌出了心機，友情與妒意分列泳池畔台， 她們在槍響前大口呼吸，哨音後振臂向前，在藍色青 春池水裡誰也無法回頭。
滨崎步
回复 :In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.