文秀（李嘉欣）对杀手生涯渐产生厌倦，太阳遂向组织提出请辞，太阳希望能独个儿回到大澳渔村过其隐居生活。不久，她便接下组织委派的最后任务，满心欢喜地投向男友怀抱之时，对方竟向她开枪。原来，此乃组织的布局安排，以确保机密不泄。最后，秀在歇斯底里下杀了男友，负伤逃回大澳。逃亡途中，茶室年青老板杜维根（马景涛）与伙记初三救回她垂死的生命，并在两人悉心照料下，秀很快复原，继而投入乡村生活，令她再次接触到人生美好一面。与此同时，根向秀表示爱意，秀感动之余正感犹豫不决之际，杀手突然出现，秀无奈只…
孙悦
回复 :若即若离的感情线，一个在防守，一个在等待。小米（刘若英饰）与小南（古天乐饰）是大学时候的同学。每年小米的生日，小南都会送上祝福，唱一首五音不全的歌给小米听。彼此相知相爱，可是小米因为童年的阴影始终无法正面她与小南之间的感情。小米后来出国留学了，两人分隔两地但心里还是时时牵挂彼此。历年的生日，小米仍记得小南的祝福。仿佛各自又有了不一样的生活，可是当年的记忆还在。最后小南告诉小米自己就要踏上婚姻的道路，小米伤心欲绝，要强的她此刻才剖白心声。就算他们仍然彼此相爱，可一切都已经无法回头……
回复 :这是一部极为出色的关于人与自然的电影。1902年和1907年，沙俄军官阿尔谢尼耶夫两次率领勘探队到乌苏里地区探险，都巧遇赫哲族老猎手德尔苏·乌扎拉。德尔苏.乌扎拉为勘探队充当向导，并挽救了阿尔谢尼耶夫的生命，与之建立了深厚的情谊。德苏对大自然相当了解与尊重，藉由他的示范 与见解，让人们了解大自然的伟大与残酷，人是可以与大自然和平相处，但当大自然被破坏时，人们将是第一个遭殃。德苏是一个神枪手，但后来在一次打猎时，德苏发现自己的眼睛因为身体衰老而退化，看不清猎物了，十分沮丧。他随阿尔谢尼耶夫到大城市伯力居住。但是，城市文明德苏却无法习惯，城市和他过去赖以生存的地方，那片纯朴的自然大地是完全不同的。猎人离开枪，离开了他所熟悉的环境，仿佛鱼儿离开了水。“城里没法狩猎，不狩猎就没有貂”“我突然想念空气。”他象是被囚禁了一般，闷闷不乐。德苏执意回到山里，回到那片密林。但是，猎人没有好的视力，便是最大的悲剧。猎人不能猎杀，自己便被会猎杀。勇敢的德苏虽然带着阿尔谢尼耶夫送给他的新猎枪，但是他却死了……
回复 :What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.
