A bit of color for once, all the better to see the red flags with, not to mention the obvious aerial file footage of Warsaw. The story concerns Jozef Malesa, the mason or bricklayer of the title. He was once the darling of the party, the son of two old party activists, a worker of heroic reputation, his own commitment to The Movement unquestioned. He was chosen to be destined for great things, specially educated and pushed forward to positions of responsibility in the Party. Eventually he decides, because of the ethical pressures which he feels from the obstructionism of the bureaucracy from above, he asks to return to be a simple bricklayer. He is disturbed with the way the Party deals with people, especially their lack of direct contact. He thinks workers know better than the leadership many times but that's not the way power flows. He is uncomfortable with the compromises to his idealism. He remains committed to social justice and joins his friends for the May Day rally where his comfort and confidence in his place in society cause him to defer to no man, certainly no rat faced men in overcoats with red armbands. His great pleasure in life moreover is laying brick. He finds the work satisfying and fulfilling which is why he was such an obviously superior worker in the first place.

在克里特岛东北：一个男子被警察从荒无人烟的史宾纳隆加小岛押送到主岛上。这个男子是一个竖琴音乐家，坚持对自己的经历只字不提。其他人则开始对此进行猜测。

许洛（狄龙 饰）和未婚妻王菊英（李丽丽 饰）交往多年，彼此之间感情十分要好，终于，两人决定步入婚姻的殿堂，然而，就在婚礼的当天，许洛竟然抛弃了王菊英，和名叫罗茵（恬妮 饰）的寡妇走到了一起。原来，罗茵一直苦苦单恋着许洛，无奈流水无情，于是，罗茵找到了一位邪恶的降头师（谷峰 饰），让降头师在许洛身上施法。　　王菊英在偶然之中知道了事件的真相，并且震惊得知自己已经被下了致命的“死降”，愤怒的她找到了另一位降头师，想要和罗茵对抗。与此同时，罗茵的前男友梁家杰（罗烈 饰）亦加入了战局之中想要夺回自己的爱人，一场混战即将拉开序幕。

女孩子穿透天花板，从2楼掉了下来！？住在破旧公寓里的我，唯一感到治愈的，是美人房东和2楼的可爱女孩。某天，天花板发出嘎吱嘎吱的声音……“啪叽！”一声破裂了，那个2楼的女孩在我的正上方从天而降……！？通过奇迹般的桃色事件，偶然相连的心灵与身体。之后，我竟然开始与2位美女共同生活！？同一屋檐下，过于浓密的三角关系会如何发展……！

今天這個日子對爸爸阿海來說是特別的，因為擔任消防員的兒子祥仔終於要回家了。阿海從幾天前就開始準備，想著要煮哪幾道祥仔喜歡吃的料理，想著要怎麼迎接他回家。辛苦了一整個上午，這整桌飯菜，不只是滿溢著父愛，也是思念的味道。所有的一切，都是為了父子倆能夠在家裡再一起好好吃頓飯。

尽管妻子渴望孩子，年轻丈夫却希望借她之腹，以胚胎移植的方式诞下因癌症离世的前未婚妻的后代。围绕着婚姻危机中的女主角面临的个人、法律和道德困境，影片一方面通过生殖科学技术的伦理尺度讨论了由此限制母亲身份的特殊社会环境，也开放性地表达了母子之间的生物学关联是否作为“母爱”概念的必要前提的质疑。该短片入围2017年学生奥斯卡最佳外国剧情片奖，是土耳其导演哈利特•伊兹在科隆媒体艺术学院(KHM)的第二部短

Voice 1 (male professional announcer type) This neighborhood(1) was made for the wretched dignity of the petty bourgeoisie, for respectable occupations and intellectual tourism. The sedentary population of the upper floors was sheltered from the influences of the street. This neighborhood has remained the same. It was the strange setting of our story, where a systematic questioning of all the diversions and works of a society, a total critique of its idea of happiness, was expressed in acts.　　These people also scorned subjective profundity. They were interested in nothing but an adequate and concrete expression of themselves.　　Voice 2 (Debord, monotone) Human beings are not fully conscious of their real life - usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.　　Voice 1 They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters and possessors of their own lives.　　Just as one does not judge a man according to the conception he has of himself, one cannot judge such periods of transition according to their own consciousness; on the contrary, one must explain the consciousness through the contradictions of material life, through the conflict between social conditions and the forces of social production.　　The progress achieved in the domination of nature was not yet matched by a corresponding liberation of everyday life. Youth passed away among the various controls of resignation.　　Our camera has captured for you a few aspects of a provisional microsociety.　　The knowledge of empirical facts remains abstract and superficial as long as it is not concretized by its integration into the whole ” which alone permits the supersession of partial and abstract problems so as to arrive at their concrete essence, and implicitly at their meaning.　　This group was on the margins of the economy. It tended toward a role of pure consumption, and first of all the free consumption of its time. It thus found itself directly engaged in qualitative variations of everyday life but deprived of any means to intervene in them.　　The group ranged over a very small area. The same times brought them back to the same places. No one went to bed early. Discussion on the meaning of all this continued...　　Voice 2 Our life is a journey ” In the winter and the night. ” We seek our passage...�　　Voice 1 The abandoned literature nevertheless exerted a delaying action on new affective formulations.　　Voice 2 There was the fatigue and the cold of the morning in this much-traversed labyrinth, like an enigma that we had to resolve. It was a looking-glass reality through which we had to discover the potential richness of reality.　　On the bank of the river evening began once again; and caresses; and the importance of a world without importance. Just as the eyes have a blurred vision of many things and can see only one clearly, so the will can strive only incompletely toward diverse objects and can completely love only one at a time.　　Voice 3 (young girl) No one counted on the future. It would never be possible to be together later, or anywhere else. There would never be a greater freedom.　　Voice 1 The refusal of time and of growing old automatically limited encounters in this narrow, contingent zone, where what was lacking was felt as irreparable. The extreme precariousness of the means of getting by without working was at the root of this impatience which made excesses necessary and breaks definitive.　　Voice 2 One never really contests an organization of existence without contesting all of that organization's forms of language.　　Voice 1 When freedom is practiced in a closed circle, it fades into a dream, becomes a mere representation of itself. The ambiance of play is by nature unstable. At any moment ordinary life� can prevail once again. The geographical limitation of play is even more striking than its temporal limitation. Any game takes place within the contours of its spatial domain. Around the neighborhood, around its fleeting and threatened immobility, stretched a half-known city where people met only by chance, losing their way forever.　　The girls who found their way there, because they were legally under the control of their families until the age of eighteen, were often recaptured by the defenders of that detestable institution. They were generally confined under the guard of those creatures who among all the bad products of a bad society are the most ugly and repugnant nuns.　　What usually makes documentaries so easy to understand is the arbitrary limitation of their subject matter. They describe the atomization of social functions and the isolation of their products. One can, in contrast, envisage the entire complexity of a moment which is not resolved into a work, a moment whose movement indissolubly contains facts and values and whose meaning does not yet appear. The subject matter of the documentary would then be this confused totality.　　Voice 2 The era had arrived at a level of knowledge and technical means that made possible, and increasingly necessary, a direct construction of all aspects of a liberated affective and practical existence. The appearance of these superior means of action, still unused because of the delays in the project of liquidating the commodity economy, had already condemned aesthetic activity, whose ambitions and powers were both outdated. The decay of art and of all the values of former mores had formed our sociological background. The ruling class's monopoly over the instruments we needed to control in order to realize the collective art of our time had excluded us from a cultural production officially devoted to illustrating and repeating the past. An art film on this generation can only be a film on its absence of real creations.　　Everyone unthinkingly followed the paths learned once and for all, to their work and their home, to their predictable future. For them duty had already become a habit, and habit a duty. They did not see the deficiency of their city. They thought the deficiency of their life was natural. We wanted to break out of this conditioning, in quest of another use of the urban landscape, in quest of new passions. The atmosphere of a few places gave us intimations of the future powers of an architecture it would be necessary to create to be the support and framework for less mediocre games. We could expect nothing of anything we had not ourselves altered. The urban environment proclaimed the orders and tastes of the ruling society just as violently as the newspapers. It is man who makes the unity of the world, but man has extended himself everywhere. People can see nothing around them that is not their own image; everything speaks to them of themselves. Their very landscape is alive. There were obstacles everywhere. There was a cohesion in the obstacles of all types. They maintained the coherent reign of poverty. Everything being connected, it was necessary to change everything by a unitary struggle, or nothing. It was necessary to link up with the masses, but we were surrounded by sleep.　　Voice 3 The dictatorship of the proletariat is a desperate struggle, bloody and bloodless, violent and peaceful, military and economic, educational and administrative, against the forces and traditions of the old world.　　Voice 1 In this country it is once again the men of order who have rebelled. They have reinforced their power. They have been able to aggravate the grotesqueness of the ruling conditions according to their will. They have embellished their system with the funereal ceremonies of the past.　　Voice 2 Years, like a single instant prolonged to this point, come to an end.　　Voice 1 What was directly lived reappears frozen in the distance, fit into the tastes and illusions of an era, carried away with it.　　Voice 2 The appearance of events that we have not made, that others have made against us, now obliges us to be aware of the passage of time, its results, the transformation of our own desires into events. What differentiates the past from the present is precisely its out-of-reach objectivity; there is no more should-be; being is so consumed that it has ceased to exist. The details are already lost in the dust of time. Who was afraid of life, afraid of the night, afraid of being taken, afraid of being kept　　Voice 3 What should be abolished continues, and we continue to wear away with it. We are engulfed. We are separated. The years pass and we haven't changed anything.　　Voice 2 Once again morning in the same streets. Once again the fatigue of so many similarly passed nights. It is a walk that has lasted a long time.　　Voice 1 Really hard to drink more.　　Voice 2 Of course one might make a film of it. But even if such a film succeeds in being as fundamentally disconnected and unsatisfying as the reality it deals with, it will never be more than a re-creation ” poor and false like this botched traveling shot.　　Voice 3 There are now people who pride themselves on being authors of films, as others were authors of novels. They are even more backward than the novelists because they are unaware of the decomposition and exhaustion of individual expression in our time, ignorant of the end of the arts of passivity. They are praised for their sincerity since they dramatize, with more personal depth, the conventions of which their life consists. There is talk of the liberation of the cinema. But what does it matter to us if one more art is liberated through which Tom, Dick or Harry can joyously express their slavish sentiments The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for us and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed.　　Voice 2 In the final analysis, stars are created by the need we have for them, and not by their talent or lack of talent or even by the film industry or advertising. Miserable need, dismal, anonymous life that would like to expand itself to the dimensions of cinema life. The imaginary life on the screen is the product of this real need. The star is the projection of this need.　　The images of the advertisements during the intermissions are more suited than any others for evoking an intermission of life.　　To really describe this era it would no doubt be necessary to show many other things. But what would be the point　　Better to grasp the totality of what has been done and what remains to be done than to add more ruins to the old world of the spectacle and of memories.　　1. This film, which evokes the lettrist experiences at the origin of the situationist movement, opens with shots of the Paris district frequented by the lettrists in the early 1950s.

十八年前，小蝶在雷电交加之夜横空出生，但她的出生却简接地害得全村大火，更烧死了她的亲生父亲，似乎她就代表了灾难。天庭上也得知了小蝶的出生，更查出她正是八百年转世的灾星托世，这对凡间却是灾难性的后果，为免除后患，决定派使者往取小蝶性命。这举却被道济得知而加以阻止，在小蝶的 身上加一道封印，任何人包括神仙也不可夺她性命，道济认为让小蝶出生就是天意，十八年后等她灵性长成，他有信心可以救赎她。　　十八年转眼过去，道济与众仙同到小蝶处，奈何双方意见不合，众仙们认为小蝶是灾难化身，为了苍生不得不把她消灭；可是济却要以大爱之力，将她渡化成人。双方制定七日之期，如济不能在七天内完成，便要将她消灭。济发现原来小蝶体内同时有几个元神寄居在内，而这些元神正是小蝶几世之前轮回的不同人物，因都是含恨而终，那怨念一直留在脑里。　　济尝试将几个元神引出并加以超渡，竟能成功将元神带离小蝶身体；济以同一办法将三个元神超渡，而小蝶亦渐见好转，但时间将至，而最后一个元神却迟迟未出现，众仙们已迫不及待要消灭小蝶，只因众仙查出，这一直不愿现身的元神，正是千年转世一次的灾难之王，他的到来，是要为凡间带来前所未有的浩劫。在腹背受敌下，济公又是否可以他的大爱，把千年灾难魔王给感化？　　演职员表　　演员表　　陈浩民饰济公、林子聪饰广亮、苑琼丹饰姚大娘、徐申东饰姚小蝶、金刚饰大鹏鸟、孙八一饰大魔王、张艺骞饰小魔王、谢宏毅饰必念、张秀文饰九天玄女、邹文正饰雷震子、李佳颖饰哪吒、王晶饰玉帝、庄思敏饰王母、周海媚饰观音、张达明饰太上老君、那威饰财神、杨能饰土地公　　3.2.职员表　　出品人：龚宇、林子聪、董天达　　制作人：冼国华、陈洁、邓筱牧　　监制：杨向华、李岩松、何珊珊、董天达　　导演：林子聪　　编剧：林子聪　　角色介绍　　济公（演员 陈浩民）　　降龙罗汉之化身，现世之济癲和尚；行於世上救急扶危，爱为人抱不平之事。十八年前，因不忍清白无事的一家三口在同日丧生，不小心打乱了地藏王的计划；因而捲入了一个巨大漩窝之中。　　广亮（演员 林子聪）　　灵隐寺的监寺大人，济公的师兄，也是济公每次旅途上必不可少的同伴，有著给济公「消灾解厄」的本领。　　必念（演员 谢毅宏）　　出家前为高人杰将军，因凤仪之死而看破红尘，遁入空门；拜济公為师，得法号必念。望终有一天修行得道，成功在天界和凤仪相会。　　姚大娘（演员 苑琼丹）　　慈母的典范，育有一女姚小蝶。十八年前得济公相救而免死在火灾里。却因女儿是「扫把星」转世而深受其害。为救小蝶脱苦，姚大娘就到灵隐寺去找济公求助。　　姚小蝶（演员 徐申东）　　天性善良，可是身怀「扫把星」转世的威力，单靠一张嘴就可以把人「黑」死。因此小蝶受到村民们上上下下大大小小的排侪，只好跟姚大娘相依为命，所以跟娘亲的感情也特别好。　　大小使者（演员 孙八一、张艺骞）　　原黑风寨的大小魔王，给济公降服后拜在地藏王门下成了大小使者，负责勾人元神。（时间点怎么不对了！？）　　雷震子（演员 邹文正）　　正直不阿，黑白分明的性格，却反成了雷震子做为神仙的弱点？　　九天玄女（演员 张秀文）　　对济公有情的九天玄女为了大局，这次下凡担当雷震子和济公间的缓冲区。　　哪吒（演员 李佳颖）　　饭可以不吃，架不能不打，为了打一场大架哪吒就随雷震子来到凡间。　　观音菩萨（演员 周海媚）　　普渡众生的观音菩萨既要点化，也要开导神仙，这一次可忙碌了。　　玉帝（演员 王晶）　　天字第一贪玩的玉帝，也是天下间最怕老婆的神。　　王母（演员 庄思敏）　　真正维持天庭秩序的幕后管事人 ，负责督促玉帝做事。　　土地公（演员 杨能）　　长的最挫的土地，非他莫属。　　太上老君（演员 张达明）　　玉帝的最佳损友，打牌打麻将少他不了。　　财神（演员 那威）　　人不抠不为财，玉帝的损友二号。　　音乐原声　　主题曲《新年好~财神到》　　作词：糖兄_峯、孙八一　　作曲：糖兄_峯　　编曲：糖兄_峯　　演唱：陈浩民、林子聪、邹文正、孙八一