《凤凰成仁高清》

将行礼放下，萧南风倚靠在床边窗口，随手取出一册道家经文翻阅起来。

强硬的不良一家——难破家的次子刚（间宫祥太朗饰）想放弃当不良少年，成为普通的高中生。他瞒着家人考入健全的高中，在家人面前是穿着特攻服的不良少年，在学校里是穿着制服的认真高中生，过着双重生活。虽然作为优等生加入了美术部，但是不能放任朋友被欺负，无意间换上特攻服帮助了朋友，以此为契机，刚成为了身份不明的最强不良少年。凤凰成仁高清进入到了城内，风浩就感觉到了一股异样的气息，街道上，一些所谓的行人，基本都是摆出针锋相对的架势。

扑通，左秋云的尸体重重地摔在地上，两只眼睛任然是睁得大大的，百灵见到这一幕，迅速地从呆愣中回过神来，惊叫一声，放开桂小姐就朝着左秋云的扑了过去，将其尸体抱在怀中，惊慌地大叫着用手去帮他捂住伤口，然而，那鲜血却还是汩汩流出，无论如何也止不住。

转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub　　“The end of paradise on earth.”—Jean-Marie Straub　　The 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.　　“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.　　In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.　　So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.　　During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.　　The mise en scène of what words exactly?　　The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.　　Is “Straubie” Greece?　　This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich