罗素芳（吕丽萍 饰）是一个日资企业的清洁工，不要收入微薄。由于她早年离异，不要所以要独自抚养老母亲和读高中的儿子何志鹏（盛超 饰），所以生活拮据，精打细算。何志鹏学习成绩不佳，唯一的爱好就是跑酷运动，还组织了city monkey城市猴子跑酷俱乐部。这让她非常焦急。高考临近，当她从班主任那里得知，儿子犯有偷卷子、谈恋爱等斑斑劣迹，感到异常愤怒。祸不单行，她因为年龄偏大被迫下岗了，前夫（郭涛 饰）又来纠缠，希望获得儿子的抚养权。压力之下，她觉得自己这些年含辛茹苦的付出，就只有一个目的——为了儿子上大学有出息。然而，何志鹏却把全部精力都放在了他热爱的跑酷运动中，通过做教练、拍广告赚钱。为此，两人大吵，何志鹏赌气离家出走。为了让儿子参加高考，她不惜选择了欺骗的方式逼儿子就范……
刘钇彤
回复 :两个年轻的漂泊者带领一列摩门教马车来到圣胡安山谷，在旅途中遇到了凶残者、印第安人、地理和道德挑战。
回复 :
彭芳
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
